pompeian plasters. buildings in regiones i, v, vi, vii and ix

7/28/2019 Pompeian Plasters. Buildings in Regiones i, V, Vi, Vii and Ix

http://slidepdf.com/reader/full/pompeian-plasters-buildings-in-regiones-i-v-vi-vii-and-ix 1/307

The Swedish Institute in Rome. Projects and Seminars 5:2

POMPEIAN PLASTERSBuildings in Regiones I, V, VI, VII, VIII and IX.

Agneta Freccero

Rome 2012



The Swedish Institute in Rome. Projects and Seminars 5:2

POMPEIAN PLASTERSBuildings in Regiones I, V, VI, VII and IX

Agneta Freccero

On-line: www.isvroma.it (publications)

Rome 2012

http://www.isvroma.it/






Layout: Agneta Freccero

Unless otherwise noted all photos are by the author.

This project was funded by the Swedish Research Council (Vetenskapsrådet).

© The Swedish Institute in Rome and individual authors.

ISSN 1825-7725

The Swedish Institute in Rome will keep this document on-line on the Internet (or its possible replacementnetwork in the future) available and unchanged. The on-line availability of the document implies a permanent

permission for anyone to read, to print out single copies and to use it unchanged for any non-commercial

research and educational purpose. Subsequent transfers of copyright cannot revoke this permission. All other

uses of the document are conditional on the consent of the copyright owners. The publication also includes

production of a number of copies on paper archived in university libraries and by the copyright holders.



CONTENTS

INTRODUCTION

Background 1 Aims and Objectives 2 Problems 3

PROJECT DESCRIPTION

Design of the study 4

Research Methods 4

Studies of the context 4

Documentation and sampling 5

Qualitative analyses of samples 6

Laboratory analyses 7

Archaeological considerations 8

The Roman Context 9

Building constructions 9

The Roman house 10

Plastering technique 12

Wall paintings - the Four Pompeian styles 14

Style Zero 15

First style 17

The Second style 19The Third style 21

The Fourth style 23

Workshops and painters 25

Preservation and Conservation 27

Preservation and conservation at archaeological sites 27

Conservation materials 28

PLASTER INVESTIGATION 29

Insula I 9 31 Casa e bottega I 9, 8 33

Casa e bottega I 9, 10 35

Insula I 16: Casa I 16, 5. 37

Insula V1 39

V 1, 7 Casa del Torello 39

V 1, 24 Taberna 42

Insula V 3: Casa V 3, 8 45



RegioVI: “Pompei. Progetto Regio VI” 47

VI 2, 4 Casa di Sallustius 48

VI 2, 14 Casa delle Amazzoni 49

VI 5, 5 Casa di Granduca Michele 52

VI 9, 3-5 Casa del Centauro 55

Regio VII: VII 15, 1-2 Casa del Marinaio 58 Regio VIII: Temple of Venus 61 Regio IX 62

IX 3, 5.24 Casa di Marcus Lucretius 62

IX 3, 19-20 Casa e panificio di Papirius Sabinus 65

Insula V 1, plasters and phases. A study within the study 66 V 1, 18 Casa degli Epigrammi Greci 68

V 1, 13 Caupona 72

V 1, 14-16 Bakery and Shops 75V 1, 20-21 Taberna 77

V 1, 23 Casa di Caecilius Iucundus North House 79

V 1, 26 Casa di Caecilius Iucundus South House 84

DISCUSSION AND CONCLUSIONS 88

BIBLIOGRAPHY 101

APPENDICES 105

I 9, 8 Casa e bottega, schedules 106

I 9, 10 Casa e bottega, schedules 122

I 16, 5 Casa, schedules 127

V 1, 7 Casa del Torello, schedules 130

V 1, 24 Taberna, schedules 140

V 3, 8 Casa 146

VI 2, 4 Casa di Sallustius 149

VI 2, 14 Casa delle Amazzoni 152

VI 5, 5 Casa del Granduca Michele 163

VI 9, 3-5 Casa del Centauro 184

VII 15, 1-2 Casa del Marinaio 204VIII, Temple of Apollo, structures below the temple 215

IX 3, 5.24 Casa di Marcus Lucretius 219

IX 3, 19-20 Casa e panificio di Papirius Sabinus 235

V 1, 18 Casa degli Epigrammi Greci 240

V 1, 13 Caupona 252

V 1, 14-16 Bakery and shop 261

V 1, 20-21 Taberna 270

V 1, 23 Casa di Caecilius Iucundus, North House 277

V 1, 26 Casa di Caecilius Iucundus, South House 287

TABLES 298



1

INTRODUCTION

Background

The present study concerns materials used for Pompeian wall paintings.1 In focus are plasters

of the early period, related to the Samnite period and the so called First style. My earlier

experiences the field of ancient materials were studies of Roman plasters at the Villa of Livia

at Prima Porta and fragments of wall decorations from the demolished buildings underneath

the church San Lorenzo in Lucina in Rome. These studies led to the hypothesis that

technology reflects not only the natural (geographical) resources available but also the

ambitions within a society, a moment in time, and the economic potential of the

commissioner.2

Later, during two years within the Swedish archaeological project at Pompeii,it was my task to study the plasters used in one of the houses of insula V 1, an experience that

led to the perception that specific characteristics are linked to plasters used over time. In the

period 2003-2005, funding by the Swedish Research Council made possible to test the

hypotheses. The present method was developed at insula I 9 and the Forum of Pompeii with

the approval of the Soprintendenza archeological di Pompei and in collaboration with the

directors of two international archaeological teams.3 It became evident that plaster’s

composition changes over time, and eight groups of chronologically pertinent plasters were

identified and defined A-H. Based on these results, I assume there is a connection between the

typology and the relative chronology in which the plasters appear on the walls. I also believe

these factors are related not only in single buildings or quarters but over the site and that,

hypothetically, the variations observed are related to technology, craftsmanship and fashion.

At the very end of the research period some odd plasters were found at Casa del Centauro and

Casa del Granduca Michele, and similar peculiar plasters were observed at fragments found at

1

I wish to extend my sincere thanks to all those who have contributed to this project. First and foremost the SwedishResearch Council (Vetenskapsrådet) for funding the project, and institutions and persons which gave the fundamentalsupport: to the Soprintendenza archeologia di Pompei and its former Soprintendente Pier Giovanni Guzzo the presentSoprintendente Teresa Elena Cinquantaquattro, Dr Antonio Varone and Dottssa Anna Maria Ciarallo for most valuable help.At the Swedish Institute in Rome I have had constant backing from its Director Barbro Santillo Frizell and the staff StefaniaRenzetti, Margareta Olsson, Astrid Capoferro and Liv D’Amelio. I further wish to express my gratitude to Prof. FilippoCoarelli and Prof. Fabrizio Pesando and the archaeological teams of the universities of Perugia and Napoli L’Orientale, in particular to Dora D’Auria, Valentina Befani and Renata Esposito for explaining “their houses” to me, and to Dr. Susanna

Bracci, Dr. Fabio Fratini and Dr. Emma Cantisani at the CNR/ICVBC in Florence for stimulating discussions on the resultsregarding our complex investigations. I am indebted to the former Director of the British school at Rome, Prof. AndrewWallace-Hadrill and to the Director of the Pompeii Forum Project Prof. John J. Dobbins, for suggestions and inspiringdiscussions, collaborations that led to the development of this research method.2 Freccero 2000a, Freccero 2000b, Freccero 2000c, Freccero 2002, Freccero 2005.3

The study Pompeian Plasters, Insula I 9 and Forum was made in collaboration with Soprintendenza Archeologica diPompei, The British School in Rome and The University of Virginia, financed by the Swedish Research Council(Vetenskapsrådet) and published in 2005.



2

the level of demolished buildings below the Temple of Venus. These strange, grey/brown

plasters seemingly belonged to a period earlier than the First style.

In 2010 my project received new funding from the Swedish Research Council and it became

possible to complete the study, this time with focus on early plasters in Pompeii.

Thirty-two houses are now included in this two-phase study. The approach in the present one

is different to the investigation 2003-05 when the buildings were sampled to establish

decoration periods, to identify the plaster types, and to create a system of plaster groups.

During this second research period focus was set on the early period that is the First style and

earlier; late decorations were not sampled unless there was a specific reason. Therefore, only

few samples have been taken in few rooms and, at one occasion at one wall only. Fragments

found at demolished structures below the structures visible today have been studied as well.

Further, the present study includes the reference samples of the large plaster collection at

insula V 1, the Swedish archaeological research project, with the objective to provide possibilities to compare the results and to assemble all plaster samples into one data base.

That part of the investigation will be presented separately as “ Insula V 1, a study within the

study”.

Aims and Objectives

The aims of this study are to understand the development of ancient plastering technology, if

the components in the plaster can be linked to specific periods, to establish if technological

factors are linked to workshops, and if a connection between relative chronology and plasters’

composition over the site may be proved. If laboratory analyses confirm the results achieved

by macroscopic observations it indicates that specific plaster types can be identified and their

characteristics explained.

The objectives of this study are

a) to determine a relative chronology valid from the archaic period to the last days of

Pompeii,

b) to create a reference system that may be a complementary tool for the dating of

decoration layers even when the painting has vanished and thereby crucial for the

Pompeian construction history, and

c) if possible to establish if the quality of craftsmanship has had importance for the

preservation of decorations. Such knowledge may eventually be used to suggest

alternatives to modern conservation substances for the preservation of wall paintings.



3

Problems

Earlier research has established that there is a notable distinction between plasters used at

Pompeii over time. If non-subjective methods of analysis confirm observations made under

the microscope, it would mean that specific plaster types can be recognized and their characteristics explained.4 If these plaster types appear in the same chronological order in

houses spread over the site, then it would be possible to create a reference system and use

ocular plaster analysis as a complementary tool for the dating of decorations and re-

decorations at Pompeii. Such a tool would be useful in cases when the painted decoration has

disappeared, or when traces of an early decoration are visible as seams behind later

constructions.

Problems that need to be answered area) Is it possible to establish a correlation between a specific type of plaster and a specific

period in time?

b) Is a link between typology and chronology valid within single houses or applicable to

houses within the area of Pompeii?

c) Is it possible to distinguish quality differences in the plastering technique used in

important buildings and private homes?

d) Are particular plastering and painting techniques distinctive for specific workshops or

solely distinctive for periods?

4 I do not believe there is a method, which in the end, is absolutely objective, since questions posed as well as interpretations of results achieved are subjective. Chemical-technical investigations produce, however, non-subjective facts.



4

PROJECT DESCRIPTION

Design of the study

This investigation can be divided into four distinct areas: studies in situ, analyses of samples,

laboratory analyses and considerations on archaeological and art historical issues, aspects that

will be discussed under separate headings.

The study within any house is planned in concordance with the archaeologist in charge in

order to decide where and why to sample; there has to be a reason for sampling. The plaster

layers and existing stratigraphies are studied, followed by sampling and by observations of

small samples under the microscope. Documentation of the contexts, the sampling areas, and

the samples is integral part of the study. As soon as the plaster types have been identified anddesignated to plaster groups, art historical and structural issues are regarded too; these are

control instruments and, as a principle, it should be a correlation between the typology

(plaster type) the chronology (period) and the style in which the painting was made.

Petrographic and technical analyses in a scientific laboratory are performed separately, and

the results of the investigations compared.

Research Methods

The methods used, are

a) studies of the context

b) documentation and sampling

c) qualitative analysis of the components in small samples of wall plaster,

d) petrographical and technical investigations in the laboratory,

e) considerations on standing structures and Pompeian styles

a) Studies of the context

The context is the house and the wall. The house is, to start with, seen as the envelope of the

rooms and the walls which are at focus. After the general inspection of the context, the

documentation and main interest concerns a) the plaster layers, b) the walls and c) the rooms.

Areas relevant for sampling are selected and schedules for plaster samples made to contain all

key information. Characteristics of the walls such as the observable decoration periods and

sizes of sampled plaster layers, indications of rebuilding, the levels at the walls of sampling

areas and whether or not there are stylistically identified decorations are facts that are noted.

The level sampled at the wall may be of importance; plasters at socle levels often are water



5

repellent and may have a different composition of filler and stucco. The main zone may be

characteristic of the plaster type while decorations at the upper zone may have more plaster

and stucco layers which may contain more lime. The size of the plastered area sampled is

important; it is either a layer applied over at least two stones, a small remain on one stone, or

it may be a spolium, a reused piece of plaster inserted into a cavity in the wall. The layer may be decorated and evidence of a decoration period or be undecorated. If there is a decoration

and the decoration is covered with a later period, we definitely have two periods. If an un-

decorated layer is covered by a decoration, that may be remains of an earlier decoration or

part of the painted layer on top of it – plastering was made in more than one layer.

Indentations by a pick-hammer are evidence of re-decoration; this was a common method to

make the new plaster adhere. A decoration could otherwise be torn down from the wall before

the re-decoration was made. In that case small areas of old plaster may be found at decayed

wall areas. The characteristics of the layers are also noted; there may be several plaster layersor only one or two, and the paint layer may be of white stucco or of cocciopesto, or

sometimes, just an application of lime. These factors may be indicative of the social status of

the owner, the type of room investigated, and of the period in which the decoration was made.

There are some secondary factors to consider, such as the impact of the environment. Plasters

in protected areas are generally in a better state of preservation than those found on

unprotected walls, and in particular on areas at, or below, the present floor level. Plasters may

be very frail and fall apart when touched, which excludes the possibility to obtain a solid

sample. Plaster from the same decoration may be perfectly solid at another area, indicating

that the frailty is due to decay, caused by environmental factors.

b) Documentation and sampling

Relevant plastered areas are documented on digital photos with the sampling spot indicated.

These photos are later used in the schedules. Plans over the house are used for indication of

sampling spots. All data has been collected in a data base as well, to which it will be open

access.

Sampling begins where there is a clear stratigraphy, possibly in connection to an ascertained

First style decoration with the objective of starting the study in each house at the earliest

possible phase. The samples, generally about 5 mm in diameter, receive identification

numbers by the initial letter of the house and the order in which it was taken, e.g., CA 1 (Casa

delle Amazzoni, sample no. 1). Number one, being the first sample and type, is a reference

sample. Sample no. 2 is, as a principle, removed from a layer that covers no. 1, and

assumingly of a later period. Therefore no. 2 is generally a reference sample too. Each

reference sample represents a type of plaster connected only with that building. The types

identified in single houses are compared to reference samples in other buildings. Those that



6

are of the same kind constitute one group. The many plaster samples that may constitute one

group are, in a typological perspective, of the same kind.

c) Qualitative analyses of samples

The composition of small plaster samples are studied under the microscope during samplingin situ and afterwards. The variables studied under the microscope are,

i) the characteristics of the lime,

ii) the components in the filler (aggregate), and

iii) the proportions between lime and filler.

i) the characteristics of the lime

Lime plaster is composed of sand, slaked lime and water. Sand is the filler; lime and water

make the binder.5

Lime is produced by burning calcium carbonate (CaCO3), i.e. limestone or marble, to about 900-1000 degrees, transforming it into calcium oxide (CaO), i.e. quick lime.6

When water is added, a reaction starts, producing heat, resulting in calcium hydroxide (Ca

(OH)2), i.e. slaked lime. The slaking process continues for a long period, and to ascertain that

the process is completed, the lime should be kept in closed pots or caves for years. Slaked

lime can be smooth and even, but it may also contain lumps of lime that are residues of the

burning and slaking process. It is generally of a white or creamy white colour, depending on

the kind of limestone or marble that was used for making it. Also dolomite, (CaMg(CO3)2),

can be used to produce lime.

ii) the components in the filler

At Pompeii, the filler consists almost exclusively of volcanic particles, such as pyroxenes and

pumice.7 The components are linked to the area at the Somma-Vesuvius complex from where

it was taken. Hypothetically, different caves provided fillers at different periods. Some

aggregates are mainly black and grey others are many-coloured. The grains are shaped and

coloured in different ways, due to their chemical composition and connected to circumstances

during which they were originally created or later ground. The composition of volcanic matter

varies due to the different conditions prevailing at each eruption.8 Most particles are pumice:

opaque, dark grey, black or brown, rounded, with a more or less porous surface. Pyroxene

crystals appear in most aggregates and are of a high percentage in some. The pyroxenes are of

two kinds: ortopyroxenes and clinopyroxenes. The former are long black, rhombic crystals.

The latter are monocline, transparent and translucid. When the samples are studied under the

microscope they are described according to material type; compact grains which are fragments

5 1 part slaked lime and 2 parts sand is conventional but there are variations.6

On issues related to lime, see Bläuer-Böhm, Jägers 1997, Marchese et al 2001, 24, 27.7 Ehrhardt, Meyer-Graft 1998, 317; Grave 2002, 62; Sabbioni et al. 2001, 39f.8 Sigurdsen 2007, 43ff.



7

of volcanic rock, limestone or marble, porous grains which mainly indicates cruma but

sometimes baked brick as well, and crystals which are pyroxenes or vitreous materials. The

colours of the particles are noted on the sheets. The compact volcanic grains are defined e.g. as

black, grey, brown, stones are beige, pale yellow, ochre, cruma is red, and the crystal group

contains particles that are generally uncoloured, yellow, green or grey, sometimes orange. Itwould be possible to describe the red grains for example in a variety from deep red-orange to

dark wine red, but that would bring the study far out of its limits. The stones are occasionally

rounded resembling river sand, and in that kind of filler are sometimes large bean-shaped

grains which are generally of beige-brown hues. Reused materials, such as paint flakes,

ceramics or glass can be observed under the microscope too.

Another aspect is the grain size but not in the sense of successive layers of finer plaster, as

recommended by Vitruvius.9 Some plasters have homogenously large grained fillers and a

lack of small particles that may cause cracks or voids in the plaster when it sets. Other plastershave very small grains. A well-balanced and solid plaster contains grains of various sizes,

where those of a smaller size fill the spaces between larger grains.

iii) the proportions between lime and filler

The proportion between lime and filler is yet another variable. Some plasters are made of

clean lime and are well proportioned. Others seem to be hastily made of reused materials,

mixed with fresh lime. In general, the top layer below the preparation for painting or stucco

contains a visibly higher percentage of lime than the rough coat.

d) Laboratory analyses

In order to understand the reasons for the variations noted and to explain in what these

distinctions exist, the method used in situ, which is a qualitative analysis, has been combined

with non-subjective methods such as petrographic and chemical investigations. Laboratory

analyses have been performed at the CNR/ICVBC in Florence.10 Several samples from each

group in all of the buildings investigated were examined during 2003-05, and thirty-one

samples have been analysed during this research period. The investigation consists of

stratigraphic analyses of thin sections in optical microscopy, photographed in polarized

transmitted light and under UV radiation.11 Analytical methods used were FTIR and XRD

and, in a few cases, samples were further studied with SEM.12 The chemical composition and

the mineralogical components of the samples have been investigated. Plasters as well as

preparations for painting (stucco) have been examined, but only the plasters are used for

9 Vitruvius VII, 3.10 Consiglio Nazionale delle Ricerche//Istituto per la Conservazione e la Valorizzazione dei Beni Culturali. Analyses have been carried out by Drs Susanna Bracci, Emma Cantisani and Fabio Fratini. See: www.icvbc.cnr.it.11

An optical microscope Zeiss Eclipse 501, equipped with objectives from 1x to 40x, white light and with a high pressureUV lamp was used.12 Fourier Transform Infrared Spectrometry, X-Ray Diffraction, Scanning Electron Microscope.



8

classification in this study, and the stucco layers are considered as additional information. The

grain size within the filler has been classified according to three variables: well-classed

(mainly of one size), medium-classed (varied grain size) and un-classed (all kinds of

dimensions). Its constituents, almost exclusively volcanic matter, were registered; the shape

of the grains defined and their dimensions noted, measured in m (100 m is 0.1 mm). The binder was defined according to the criteria of abundance, porosity, homogeneity, structure,

i.e. micritic or microsparitic, and in some case, the opacity was noted. Based on these

definitions, the plasters were placed into groups with the same characteristics. The groups of

plasters that had been identified by chemical and petrographic investigation were compared to

the groups identified by data collected in situ. The results have been compared and discussed

at several meetings. Eight pigments analyses were made as well and the thin sections

photographed in reflected light and electronic microscopy.

As an additional investigation aiming at ascertaining current observations, the aggregates of aselection of samples in group 0 and group A are now studied by a volcanologist to, if possible,

establish if the dissimilarities observed and determined can be related to different eruptions.

A separate investigation aiming at ascertainment was made in 2005 as well when a team from

Åbo University tested C 14 analysis on samples from identified and dated paintings in insula I

9 in Pompeii and insula Occidentalis I in Herculaneum within the projects of the British

School in Rome. The method which had been successfully used in other environments did not

function at these Campanian sites.

e) Archaeological and stylistic considerations

Wall constructions and decorated wall plaster are linked to phases of the history of Pompeii

and to phases within a house. Archaeological studies of standing structures provide

established dates; certain kinds of wall constructions did not occur until after a specific date.

A painted decoration is generally referred to as belonging to one of the four Pompeian styles,

a reference that automatically places the decoration within a limited period of time. The

periods to which Pompeian wall decorations belong are well-defined, even though there are

minor disagreements for example in the dating of the beginning of a style or specific

paintings. Therefore, information regarding construction methods and Pompeian styles is

valuable for the understanding of collected data. Taking these kinds of aspects into

consideration is of vital importance, they are all part of the same context.



9

THE ROMAN CONTEXT

The Roman house, construction materials and building techniques, plastering and pictorial

styles are structurally parts of the same context. Houses, building materials and pictorial styles

have been thoroughly studied for centuries. The methods of ancient lime production are wellknown and mortars and plasters scientifically analysed. The plastering technique, the

materials used, and the technical development from a presumably archaic phase to a very

sophisticated method of wall plastering for painting are in focus in the present investigation.

How did the Romans technically do to make the decorations last, is a question that still needs

to be answered.

Building constructions

The earliest foundations for buildings at Pompeii dated to the 5 th and 4th centuries BC were

made of large relatively irregular blocks of pappamonte, a local tufa type. In recent

excavations at archaic levels of the city, this kind of early walls or foundations have been

found below standing structures in several regions of the city, often along the same

alignments as seen today.13 Around the 3rd century BC, constructions were mostly made of

large and finely cut rectangular blocks of Sarno limestone, a grey travertine of the Sarno

River valley. Giuseppi Fiorelli developed a method of analyses of Pompeian houses in the1870s, based on the houses excavated at that time. He distinguished two characteristic groups,

those with atria constructed of Sarno limestone and the second group of Nocera tufa, a local

solidified volcanic mud, cut into large ashlar blocks.14 Tufa had been used for some of the

great houses such as Casa del Fauno while houses made of Sarno stone were often of modest

dimensions. The ashlar blocks joined in opus quadratum was principally used for façades.15

Closely related is the framework technique opus africanum, in which standing and horizontal

blocks formed frames and the interstices were filled with pieces of lava and limestone joined

with lime mortar. Houses constructed in opus quadratum and opus africanum remain but,

rebuilt in later periods, in most cases, only fragments of the original constructions remain.16

Most walls in Pompeii are constructed of rubblework, made of pieces of limestone and tufa

joined by mortar.

Opus caementicium, Roman concrete refers to a building material in which the core is a mix

or various materials, covered by a framing on both sides. The facing was built up along with

13 Brun 2008, 63; Carafa 2007, 65f; Castrén, et al. 2008, 332f.; Coarelli 2008, 173f; Curti 2008, 48; Pesando 2008, 159ff;Wallace-Hadrill 2007, 281.14

Wallace-Hadrill 2007, 280.15 Eschebach 1995, 158; Laidlaw 1985, 41f; Franklin 1990, 15.16 Maiuri 1973, 1ff.



10

the core.17 In the early first century BC, facings of opus incertum, consisting of irregular

small pieces of limestone, tufa or lava set in mortar, were introduced. Regular, small cut

stones set in the characteristic fishnet pattern of opus reticulatum, is not known in Pompeii

before the Roman colony.18 Tiles were introduced as wall construction material, opus

testaceum, in the Roman period too, but had been used since the 2nd century BC for roofing

and to build columns. After AD 50, brick was the dominating construction material. All

mortars were, according to Adam, of mediocre quality and badly mixed; a practice which has

an impact on the preservation of unroofed and unattended standing structures.19 After the

earthquake in AD 62, any and all of these materials were mixed and used.

The Roman house

Walking along a street at Pompeii today, we see many entrances in the long wall of a city

block. Most entrances belong to a space used for commercial activity. In general, such spaces

are flanking each side of the entrance to the private home. A door at the rear wall of the

commercial area indicates the business was a family trade while a closed wall may indicate

the commercial area was rented or owned by a different holder.

Most houses in this investigation are traditional atrium houses built in the period between the

late 3rd and the 1st centuries B.C. Some have structures of opus quadratum and opus

africanum, other mainly of opus incertum, and all have been rebuilt in later periods, as can be

observed in the different building materials and techniques. All private homes were entered

by the small vestibulum and narrow fauces, after which the visitor entered the open atrium

area in the middle of which was the impluvium with the adjoining well shaft as the focal point.

Behind the atrium was the tablinum, through which one might see the peristyle garden if the

tablinum’s rear wall was not closed. The dining room, triclinium, was often situated behind

the atrium area, close to tablinum and the garden. There were small rooms and bedrooms

either at one side or at the two sides of the atrium. If the house was a large one it might extend

with new series of rooms behind the peristyle garden. In minor houses with large workshops,

there might not be the link of a fauces between the street and the atrium; the visitor entered

directly into the probably enlarged atrium area which was the workshop.20

17 Dobbins 2007, 115. 18

Sear 1988, 76. 19 Adam 1981, 103.20 On Roman houses and society, see Wallace-Hadrill 1994.



11

Fig.2. Via dei Soprastanti, different building constructions; to the left an area of opus incertum, in front to theright a technique of the Roman period with use of baked brick, opus testaceum. Fig.3. Below,to the left. Insula V 1, the House of Tofelanus Valens; at the corner large ashlar blocks of Sarnolimestone, after which is a large area of opus incertum. At the second storey opus reticulatum and opus vittatum.Fig.4. Below, to the right: The house of Octavius Quartio, view from the entrance towards fauces and atrium. At

both sides of the doorway are plaster casts of the impressive doors.



12

In many cases a house was extended by the incorporation of nearby properties or portions of

houses. Walls were partially torn down or constructed windows and door walled up or opened

as circumstances changed. Even though there are signs of rebuilding everywhere and in all

periods of time, it seems such activity was extremely frequent in the period after theearthquake in AD 62 and the eruptive period that followed. Radical interventions can be

observed and these signs are part of my study. If for example, a window was walled up or a

new wall constructed against one already existing, there might be remains of decorations

hidden; such plasters constitute evidences of chronology. In Pompeii there was an extensive

rebuilding and redecoration period beginning in the late 1st century BC, when the Romans

settled and took on the new fashions in Rome.21

Plastering technique

Wall-painting in Pompeii and in Ancient Rome was made on carefully plastered walls

consisting of at least two plaster layers – the rendering or levelling coat and the rough coat, on

top of which was the smooth finish coat made of a mixture of lime and calcite crystals, that is

the stucco.22 Vitruvius explains how to prepare walls for painting.23 According to his

recommendations at least three layers of plaster consisting of lime and sand with successively

finer grains should be applied on the coarse rendering coat. Then three layers of lime andcrushed marble should be applied; each layer had to be beaten and smoothed with a plasterer’s

tool, the trowel, before the next one was laid on. By using this technique the walls would gain

a considerable thickness making them extremely resistant and not easily damaged. A further

advantage of the thickness was the slow drying process which prolonged the time allowed for

painting al fresco. Vitruvius also pointed out that if only one layer of plaster and one of stucco

were used, the wall would be easily damaged and it would not be possible to achieve the

desired lustre. Another advice was to use hydraulic plaster at the socle levels in damp areas.

Something makes Roman lime plaster extremely durable. Reticulatum walls with remnants of

decoration still stand unattended in nature, at times even at a shore close to the sea. Modern

preparations would not last for more than a few decades, unless protected and cared for. This

is obviously not just a question of mixing lime and a filler, because that is how it is done

today. The secret might be in the method of burning and slaking the lime, in the composition

of the filler, or the proportions between the components of plaster. It may otherwise be linked

21 On the Forum area, see Dobbins 1994; Dobbins, Ball 2005; Wallat 1997.22 Plaster intended as a mixture of slaked lime, water and sand. When the lime plaster sets by taking up carbon dioxide fromthe air and drying out to form calcium carbonate, it becomes hard and chemically similar to limestone and marble. For studies

on plasters and stucco, see Bordignon 2000; Bläuer-Böhm, Jägers 1997; Grave 2002; Ling 1999; Marchese et al. 1998;Miriello et al. 2010; Peterse 1999; Sabbioni, Zappia, Riontino 2001; Meyer-Graft, Ehrhardt 1998.23 Vitruvius VII, 3.



13

to the technique, or else to some, or to all of these factors. There have been attempts to

reconstruct the Roman plastering technique; Paolo Mora claimed that he had reconstructed it

based on Vitruvius’ description.24 The accomplishment was due to Mora’s interpretation of

the words “ politionibus” and “ politiones”,25 which he explained as signifying “ polyment ”,

which is fine clay used for gilding.26 Experiments based on Mora’s description were made in

Cologne.27 Polyments are not mentioned in the evaluation of the results, but instead the

mixture of grain sizes in the plaster and intonaco, which was considered to be of utmost

importance. The conclusion was that intonaci, prepared of fine marble dust, became dull

while those “…which were composed of coarser material were quite easy to polish and

produced an acceptable sheen…” Häfner’s observation corresponds with my own

experiences, a series of experiments and a vast investigation of decorated plasters at Villa of

Livia.28 Early preparations, and in particular those of the Augustan period, were of an

excellent quality, made of several layers with successively finer grain size. Laboratoryanalyses of small samples showed that the smooth and lustrous intonaco or stucco had

inclusions of large crystals of marble or alabaster, a fact already noted by Cagiano de

Azevedo.29 In the last years, an interdisciplinary team worked to re-create Roman plastering

technique according to Vitruvius’ description. The project was performed as collaboration

between institutions in München and the Soprintendenza archeologica di Pompeii.30

Fig.5. Fragment of wall painting from the Villa of Livia at Prima Porta. The large fragment of the Augustan period belonged to a wall decoration in the atrium. The fragment measures 115 x 20cm, and has a thickness of 6.2 cm, 1.7 of which is the stucco.

24 Mora 1967.25 Vitruvius VII, 3. ( Politionibus, politiones etc. means smoothing .)26 Mora 1967, 64. “Le politiones sono delle terre argillose che oggi vengono chiamate “boli”.”27 Häfner 1997, 143-152.28 Freccero 2000. Chemical-technical investigation made at the scientific laboratory at the Opificio delle Pietre Dure in

Florence by Drs. Mauro Matteini, Arcangelo Moles, Giancarlo Lanterna, Maria Rosa Nepoti, and Carlo Lalli.29 Cagiano de Azevedo 1949, 145f.30 Contact: Lehrstuhl für Restaurierung, Kunstteknologie und Konservierungswissenshaft Technische Universität München.



14

Wall paintings – the Four Pompeian styles

Pompeian wall paintings have been thoroughly studied for centuries.31 There is a general

agreement on dating, styles and issues regarding the technique used for preparation and

painting. As a consequence we still divide these decorations into the Styles defined by AugustMau,32 the Styles still are related in time, and the painting technique is still defined as al

fresco.33 Mau made a systematic study of Roman wall decoration and recognized that these

were of four types, that the different styles chronologically followed one after the other, and

that the wall decorations in Pompeii did not have the roots in Greek tradition.

There are disagreements in the dating of specific paintings, there is some doubt about the idea

of a strict chronological dating of paintings based on stylistic elements, and it is known that

the paintings are generally not made al fresco but in a mixed technique. 34 The ground colours

of the walls were applied al fresco but the finer details were often painted in another medium,as revealed when the paint used a secco is peeling off.

There is, in addition the candelabrum style, a transitional period between the Second style and

the Third recognized already by Mau. Recently a plain type of decoration contemporary with

the First style has been acknowledged as the Zone style.35 And in the last years, yet another

pictorial style, earlier than the First, has been identified and given the name stile zero or Style

Zero. There is also the taste of the commissioner to consider: there evidently were house-

owners who were perfectly comfortable with mixing styles and to have imitations made when

a room needed some re-decoration.36

In spite of the slight variations in dating, perception and recognition of stylistic elements, the

established Four Pompeian styles combined with archaeological studies of standing structures

provide established dates; certain kinds of wall constructions and certain pictorial motifs did

not occur until after a specific date.

31 The Four Pompeian styles: 1st style, c. 180-80 BC. At least as old as the earliest houses built toward the beginning of thesecond century BC; 2nd style, c. 80-20 BC. From the time of the Sullan colony, continued until the end of the century; 3 rd style, c. 20 BC-AD 45. From the second triumvirate down to the time of Tiberius. 4 th style, c. AD 45-79. The phase can bedivided in two periods, before and after the earthquake in AD 62. On Pompeian painting, see, e.g., Barbet 1985; Beyen 1951,1960; Ehrhardt 1987; Laidlaw 1985; Ling 1991. 32 August Mau 1882, Geschichte den dekorativen Wandmalerei in Pompeji,.33 The paintings are generally referred to as frescoes or freschi.34

Freccero 2002, 62.35 D’Auria, forthcoming. 36 Ehrhardt 2005, 170ff.



15

Style zero

Chronologically the earliest type of decoration identified at Pompeii, found at archaic levels

of the city, this decoration does not fall within the established four Pompeian styles, but rather

seems to go back to a local Etrurian-Campanian tradition. The name stile zero was suggested

by Jean-Pierre Brun in an article in 2008, and as far as I understand, the name is now stuck to

paintings that were made before the First style.37

A simple motif – a repetitive wave painted in black on a white background, has become a

symbol for this style. The motif of a painted wave was used in Etruscan and Campanian tomb

decorations from the 4th century B.C.38 It seems the pattern was appreciated in noble houses

of the period, as shown in a wall painting in Cuma, showing a woman, sitting on a throne,

attended by a servant. Behind the figures there is a wall. Above its high red socle is a row of

painted black waves against the white background.There are other examples of a similar ornamental arrangement in Pompeii, for example in

Casa del Fauno, room 31.39 Stylistically the pattern can be dated to the end of the 4 th or

beginning of the 3rd century BC, coinciding with the period of the first Samnite city wall.

Fig.6. Fragment of wall painting, detail of a wave pattern in black on white background.

37

Brun 2008, 61-70.38 Brun 2008, 65f.39 Brun 2008, 68.



16

Fig.7. Above, to the left: Casa del Fauno, fauces decorated in the First style.Fig.8. Above, to the right: Casa del Centauro, cubiculum 3, southwest corner.

Fig.9. Below, to the left: Casa del Centauro, cubiculum 3, south wall, detail.Fig.10. Below, to the right: Casa di Iulius Polybius, vestibulum A, north wall. First style decoration and walledup door painted in the Second style.



17

The First style

The First style, also known as the incrustation style, was the standard decoration from the end

of the Punic war to the end of the social war.40 The implemented pattern is simple but, within

the established structures the decoration could be vey sophisticated. The wall as a principle

was divided into three main zones; the high socle, the middle zone and the upper zone

crowned by epistyle, frieze and dental cornice.41 In some houses, such as the Casa del Fauno,

the decoration partially was quite elaborate and three-dimensional, but in other areas much

more restrained.

This three-dimensional decoration was made of plaster and stucco shaped into a geometrical

pattern of standing and horizontal rectangles in relief. The strongly projecting dental cornice

was built up with several layers of plaster and attached to the wall by regularly inserted

projecting nails. The last stucco layer was carefully smoothed to become soft and lustrous toresemble marble. Pilasters crowned with capitals were flanking doorways and used to make

distinctions between areas.

The distribution of colours was relatively constant. A yellow ochre hue was often used to

paint the monochrome high socle, above which was the likewise monochrome projecting, flat

string course, followed by a row of large drafted orthostates painted monochrome or to

resemble marble. Marble imitation in general could be made in realistic manner or it might be

completely fanciful. The upper zone consisted of courses of horizontal panels of fake marble

crowned by the elaborate unity epistyle, frieze and dentil cornice in high a relief, often keptwhite. Between the main and the upper zones was a profiled string course.42 The simplest

overall pattern was a ca 1 m high yellow socle separated by a projecting string course from a

white upper wall with a purple or green fascia and white wall crown next to the ceiling.43 This

type of decoration is called the Zone style.

40 The Punic wars 218-201. End of the civil wars 89 BC Sullan colony, 80 BC Roman republic.41

This basic system continued to be used in the Pompeian wall decoration.42 Laidlaw 1985, Fig.1, Terminology.43 Laidlaw 1985, 28.



18

Fig.11. Casa di Cerere, room 4. The decoration of the antechamber and the alcove are separated with a painted pilaster with Corinthian capital.



19

The Second style

The Second or the architectural style was presumably first used at the House of the Griffins at

the Palatine in Rome, a decoration dated to 80 BC. In Pompeii it was popular in the period of

the Roman republic, after 80 BC, supposedly as an effect of the close contact with Rome as

many Roman veterans stayed in the city. Paintings in this style were common during the

Republic, less in the Augustan period. Well known examples are the representative

decorations in the house of Augustus at the Palatine, made in the period between in 36 and 27

B.C.44

The pattern of stone walls in stucco relief in the First style was transformed to fit a flat wall in

the Second; the tactile relief structure vanished and was substituted by paintings of marble in

the middle zone appearing to be in relief by using the technique of painting light and shadow.

Other typical features are painted pilasters and fake doors. Moulded plaster remains only atthe edges of walls and as framing around lunettes.45 Often the crowning with the frieze and

dentil cornice remains; maybe they fitted into the new system, or they were difficult to

remove.

The style is divided in two phases: in the first phase, dominating between 80-50, the wall is

closed, with no perspective.46 If there are decorative paintings, these are small panels with

figures or animals. Towards the end of the period painted garlands appear between pillars and

pilasters at the upper part of the wall.

The second phase, around 50-20 BC is the renaissance of painting.

47

There are openingstowards the sky, views in perspective at the upper zone, masks hanging on cornices, scenes

and landscapes in imaginary windows.48 Other particulars of the later period are

monochromes, bands with epic motifs and the melographies, figure paintings in more than life

size, as the famous mystery paintings in Villa dei Misteri at Pompeii. At the end of the period,

illusionism gradually vanishes; the large vistas disappear and the architectural structures tend

not only to become two-dimensional but also designed to be totally lacking their supporting

capacity. Pilasters that carry vaults and architraves are substituted by reed and candelabra, a

fact that made Vitruvius complain about contemporary fashion which he found were

outbreaks of bad taste.49

The candelabrum style was, according to Mau, a transitional period between the Second and

the Third Style, in Rome dated to around 30-20 BC.

44 Ehrhardt 1987, 2ff.45 Strocka 2007, 308.46 The main periods traditionally are 80-50 and 50-20 BC, Barbet’s classification is 100-60, 60-40, 40-20 BC, and Sear mentions 90/80-20/10 BC.47

Beyen 1938, 32f.48 Barbet 1985, 37.49 Vitruvius, VII 5:3-4.



20

Fig.12. Above, to the left: Caserma dei Gladiatori, decoration in the candelabrum style.Fig.13. Above, to the right: Casa di Iulius Polybius, room GG, east wall, Third style decoration.Fig.14: Below: Casa del Frutteto, the black triclinium.



21

The Third Style

The Third, or the ornamental style, evolved from the transitional candelabrum style. This

linear and elegant, rather rigid manner was fashionable in the period from Augustus to Nero.

The paintings in the pyramid of Cestius in Rome dated to 12 BC are regarded as the earliest

examples.

The new invention is the tripartite system of the wall. Horizontally there is still the division in

three zones, each in a different ground colour. Vertically the wall is divided into three parts; a

large central panel flanked by two narrow ones or two pairs of narrow panels. The central

panel usually is occupied by a painting with a mythological motif, framed by a cornice.50 The

style is sometimes called the Egyptizising style due to the predisposition to use exotic motifs

and in particular impressions from Egypt and Egyptian mythology.

Two of the houses in insula I 9, Casa del Frutteto and Casa del Bell’Impluvio, have well

known decorations in the Third style which are representative for the different trends. Famous

are the garden paintings in Casa del Frutteto, one of which was painted on a blue background

and the other one on black. In the blue room there are motifs pointing at Egypt and the Isis

cult, and in the other, against a black background is a tree housing birds and a winding snake.

Both houses have a black triclinium with large central paintings between slender decorated

columns and stems. In the tablinum at Casa del Bell Impluvio is a vista at the upper zone, in

which imaginary architecture is visible against the blue sky.

In Casa di Cerere most walls are decorated in the Second style but there are also examples of the Third, as in one room there is a painted flying bird holding a string of pearls in its beak, a

motif that becomes popular in the Forth style.51

In the later Third style, after Augustus’ death in AD 14 there is a gradual stylistic change, and

the style becomes less rigid and more painterly.

50 Bastet, de Vos 1979.51 Barbet 1985, 113.



22

Fig.15. Casa di Amarantus, tablinum, wall. Fourth style decoration, detail.



23

The Fourth Style

By far the most decorations in Pompeii belong to the Fourth style, as the earthquake in 62 AD

and those that followed caused much damage in the city and most houses needed at least

partial repair. Many wall paintings had to be replaced.

Fourth style decoration is regarded as a combination of the Second and the Third style. The

tripartite system of the Third style is kept, and there is a revival of the illusionistic approach

of the Second. The upper zone opens up again to vistas and now even the side fields do.

However, the earlier large central painting on the wall tends to become smaller while the

motifs remain the same.

Repetitive patterns occur as subdivisions of the wall, and these so called embroidery borders

appear as if stencilled to the background.52 Sometimes these repetitive patterns resemble

modern wall paper, which provided the name the tapestry style.53 Flying or floating figuresoften decorate the centres of these imaginary tapestries. Undulating plants, swans, dolphins,

and griffins are common motifs too.

As pointed out by Ehrhardt, the entire system of distributing spaces was copied, not only the

central painting. Some Fourth style decorations made after the earthquake are quite visibly

different from the surrounding decorations, but sometimes they so much resemble earlier

decorations that one can be mistaken.54

There is a slight disagreement regarding the end of the Third and the beginning of the Fourth

style: the question is if the Fourth style began in late Tiberian or the early Claudian period.This pictorial style has traditionally been related to the Golden house of Nero constructed

after the great fire in 63. The rooms were decorated by the court painter Fabullus, who in fact

is one of the very few painters known by name.55 At the death of Nero in 68 large part of the

house was decorated in the advanced Fourth style.56 Most probably this style started already

in the 40s or 50s AD, as a transitional style where Third style ornament was combined with

new patterns, such as the re-entrance of outlooks in the upper zone.57 In Pompeii, the

earthquake in 62 is a turning point, after which the Fourth style had overthrown the Third.

Some paintings in the Third style were however, still appreciated and continued to be

copied.58

52 Ling 1991, 71.53 Clarke 1991, 61-63.54 Ehrhardt 1987, 133.55 Ling 1991, 71f.56

Strocka 2007, 317.57 Ling 1991, 72.58 Richardson 2000, 2f.



24

Fig.16. Above: Casa di Amarantus, tablinum 5, Fourth style decoration, embroidery borders.Fig.17. Below: Casa di Venere. Fourth style decoration in the peristyle, south wall.



25

Workshops and painters

Who were the masters of Pompeian wall painting?

Little is known about painters and painters’ workshops. Attempts with use of different criteria

have been made to identify painters and their paintings. Beyen had identified ten differentworkshops in 1951, and these were named after the houses in which their most important

works had been made.59 The style of each workshop at a given period was homogeneous, but

he could recognize the “hands” of individual artists. The method is based on the principle that

each artist has something that may count as a personal fingerprint. This fingerprint may be the

way the artist paints the nose or the ear of a subject; details that are not regarded as important

and therefore not given any particular attention.60

This approach has not given much result as far as the early periods are concerned, mainly

because few figure paintings remain. In some studies interest has focused on decorativedetails such as candelabra, garlands, and other details seen separately or as part of an

established structure which might lead to a specific book of patterns that belonged to a

specific workshop or master.

Ehrhardt found similarities between some Third style decorations Casa del Frutteto, Casa del

Bell’Impluvio and Casa di Fabius Rufus that may point at one painter or a workshop, which

might have been responsible for paintings in other houses over the site as well.61

De Vos recognized some workshops that produced decorations after the earthquake in AD 62.

The most elegant paintings of the period were made by the masters that decorated the Casa

dei Vettii. Another workshop, of lesser capacities, was active in the vicinity of Via di

Castricio.62 According to de Vos, the painters of this bottega made rough paintings in modest

houses, mainly in the commercial quarters where the workshop was situated. Only

occasionally they managed to make some painting of a higher standard. Typical features that

reveal the workshop are tapestry borders in colour that contrasts to the background, stretched

garlands, still life’s of fish and birds but also portraits in tondi, just to mention some motifs.

More recently, Richardson has made a vast study of figure painters in Pompeii.63

59 Beyen 1951, 235ff.60 Richardson 2000, 10.61

Ehrhardt, 1987, 135ff.62 De Vos 1981, 119ff.63 Richardson 2000.



26

Fig.18. Above to the left: Edifice of Eumachia, space 222. Detaching wall plaster.

Fig.19. Above, to the right: Casa del Bell’Impluvio, salt efflouresence, triclinium 8.Fig.20. Below: Temple of Jupiter. Detached decoration.



27

Preservation and conservation at archaeological sites

The preservation of excavated paintings was, and still is, a gigantic problem. Comprehending

ancient technology, reconstructing and using it, should be an advantage for the preservation of

excavated wall paintings. As pointed out by Marchese et al, knowledge about materials is thenecessary base for conservation programmes and interventions.64 Franca Parise Bodoni noted

– in 1981 - that less than 20% of excavated wall paintings and pavements remain due to lack

of maintenance, as well as to conservation interventions.65 Portland cement is one of the well-

known causes of paintings being lost. In natural humid or damp environments it produces salts

that flourish like mushroom colonies, disintegrating the painted surface. The analyses of such

salts in Casa del Bell’Impluvio, room 8, east wall, verify that these are caused by cement. 66

Acrylic resins are just as mismatched to lime plasters as is Portland cement. Plastic is an

excellent water-resistant material: a good quality that becomes negative on a wall painting,since it prevents the evaporation of natural humidity. Enclosing water into walls or works of

art leads to material destruction. This is a problem especially in open-air environments, where

humidity caused by rain and capillary suction is normal and must be considered before any

conservation intervention starts. Capillary rise of water inside unprotected walls is a great

problem at Pompeii. Studies on the composition of plasters and mortars show that the mortar in

general is of a mediocre quality with many lime lumps.67 Because of the low quality, water

penetrates and the building plasters swell, in the end provoking the detachment of wall plasters

and finally destroying the wall. Since major part of the walls in Pompeii is unprotected, water

penetrates from the top as well. Water or dampness is the single most destructive element for

material decay; nothing really happens in the absence of humidity. Simple roofing and clean

base levels might be good options to preserve the standing structures.

An interdisciplinary conservation project with a modern approach in conservation, research and

documentation that could serve as a model was initiated in Herculaneum in 2001.68 One of the

main problems to deal with from the start was, in fact, how to eliminate stagnant water.

64 Marchese et al. 2001, 23. “ La conoscenza dei materiali di un’opera d’arte antica, dal piccolo ogg etto al grande edificio,

rappresenta la base necessaria per ricostruirne la storia e la tecnologia e per programmare eventuali lavori di restauro e di

conservazione”. 65 Parise Badoni 1981, 71.66 Sample BI 6 sali. Constituted principally by thenardite (Na2SO4). Traces of gypsum and sulphates with sodium and

calcium aphhitalite, (K 3 Na(SO4)2; syngenite K 2Ca(SO4)2·H2O.67 Adam, 1981, 103.68 Wallace-Hadrill et al. 2006, 233ff.



28

Conservation materials

Conservation history from the late 18th century and onwards is a story of new inventions,

important achievements and serious mistakes. Pompeian wall paintings have been the subject

of many kinds of unkind treatments, such as Morriconi’s miraculous mixture for polishing the

paintings.69 This mixture, which is all but beeswax, has contributed to the preconceived idea

that beeswax is harmful to paintings on plastered walls, when in fact, beeswax does not have

properties that can dissolve frescoes or cause serious damage to paint applied a secco. Many

modern conservation materials are not compatible with ancient technology and furthermore,

they age rapidly, often provoking damage to material they were supposed to restore. 70

Acrylics are dissolved in toxic solvents, such as trichlorethane and xylene.71 These are not

good for the conservator, and solvents of this kind “…may on occasions swell the underlying

material or cause dyestuffs to bleed …”.72

Protective layers of natural beeswax observed onexcavated wall paintings the Temple of Isis,73 and at the Roman villas at Stabiae were

removed.74 After treatments the paintings were protected with an acrylic resin.75 There is no

official reports on what happens when chemicals are superimposed, as they are used in reality;

in laboratories they are tested singly.

Conservation is a slow and sometimes very costly affair. Regular maintenance is the only

possible way to avoid expensive conservation interventions.76 First aid interventions and

security repair with an appropriate lime plaster or stucco is a good investment for preserving

Pompeian wall paintings, stucco decoration and mosaics. Lime, sand and water are not

expensive and they are non-toxic. Lime plaster and stucco have resisted for 2000 years.

69 Vlad Borrelli 1980, 81. Morriconi’s recipe for surface protection was a mixture of turpentine, alcohol, amber, copal

varnish, rubber and sandarac. It had the disadvantage of turning yellow and even to provoke the detachment of colours.70 Modern acrylics, such as Paraloid B72, are visually recognized by a hard and uniform lustre. They are transparent whenapplied but have the disadvantage of turning yellow-brown. Acrylics are, in practice, impossible to remove. In Science for

conservators (Wilks 1999, 115-116), acrylic resins, such as Paraloid B72, are defined as “a copolymer of metyl acrylate and

ethyl methacrylate. They remain soluble and are easily replaced, and are not affected unduly by light .” Considerations on

lime and barium hydroxide, and a less enchanted view on acrylics, see C. A. Price 1996, 17f, 29f.71 Torracca 1990, 52, 56-62; Mora 1998, 94f.72 Wilks 1999, 116.73 Cinti 1992, 121-122. “ Dimetilformammide, Xilolo, Tricloroetilene. I solventi sono stati usati sia puri che mischelati tra

loro e applicati mediante impacchi con carta giapponese…” 74 Miniero Forte 1989, 32f. Beeswax was removed with “Clorotene… benzina… impacchi di tricloroetano”. Cleaning wasmade with “AB57”, a mixture of chemicals, such as ammonium bicarbonate, sodium bicarbonate, EDTA and Desogen, a

biocide, containing other chemicals. Consolidation was made with “Paraloid B72 al 3% trichloroetano”. 75

Cinti 1992, 122. EDTA, “ sale bisodico dell’acido etilendiamminotetracetico”… “ Paraloid B72, Rohm-Haas, al 3% inTrichloroetano”. 76 Wallace-Hadrill et al. 2006, 246ff.



29

PLASTER INVESTIGATION

Plaster layers in twenty houses over the site of Pompeii have been investigated in the present

study. The houses are situated in six regions; I, V, VI, VII, VIII and IX. For simplicity

reasons the houses are presented according to region, insula and house, beginning with Regio

I and ending with Regio IX. At the very end, six houses in insula V 1 are presented as a study

within the study.

The number of samples removed in a house has generally been between 10 and 20, but in

particular cases some more or a few less were required for the purpose established

beforehand.

Fig.21. Plan of Pompeii with the indication of the regions in which buildings have been sampled. In the present

study the following houses are included: Regio I: Casa e bottega I 9, 8, Casa e bottega I 9, 10, Casa I 16, 5. Regio

V: V 1, 7 Casa del Torello, V 1, 13 Caupona, V 1, 14-16 Bakery and shop, V 1, 18 Casa degli Epigrammi Greci,

V 1, 20-21, V 1, 23 Casa di Caecilius Iucundus North House, V 1, 24 Taberna, V 1, 26 Casa di Caecilius

Iucundus South House, Casa V 3, 8. Regio VI: VI 2, 4 Casa di Sallustius, VI 2, 14 Casa delle Amazzoni, VI 5, 5

Casa del Granduca Michele, VI 9, 3-5 Casa del Centauro. Regio VII: VII 15, 1-2 Casa del Marinaio. Regio VIII:

Structures below the Temple of Venus. Regio IX: IX 3, 5.24, Casa di Marcus Lucretius, IX 3, 19-20 Casa e

panificio di Papirius Sabinus.



30

Fig.22. Via dell’Abbondanza. The public well in front of house I 9, 1 Casa del Bell’Impluvio.

Fig.23. Below, to the left: Casa del Frutteto, entrance.

Fig.24. Plan of insula I 9. After Fulford and Wallace-Hadrill 1998.



31

Insula I 9

Insula I 9 is a rectangular block located between Via dell’Abbondanza and Via di Castricio in

east-west direction and two minor streets running north-south. The block is situated at a short

distance from the amphitheatre. The major houses, Casa del Bell’Impluvio, Casa diSuccessus, Casa del Frutteto, Casa di Amarantus and Casa di Cerere, are residential buildings

with Tuscanic atrium and peristyle, traditionally dated to around 120 BC.1 Some of the houses

had commercial spaces at one or two sides of the main entrance. A plaster investigation at

these houses was published in 2005.2 Houses number 8 and 10 presented below were partially

sampled but the studies not completed at the time. Walking along Via dell’Abbondanza from

the Forum towards Porta Sarno, the first house of the insula that comes into sight is Casa del

Bell’Impluvio with its adjoining shop. In front of the building is a public fountain mad e of

lava decorated with a patera.3 Next is house number 3, Casa di Successus with adjacent bar,

after which is the entrance to house 5, Casa del Frutteto, with commercial area at the corner.

A great number of wine jars found in the house and its cellar, indicate the owner was in the

wine trade.4 Around the corner, along the east lane at entrance 7 was the stable and garden

area of house number 5. Further south is a row of three more modest houses, number 8, 9 and

10, each of which had a workshop at the front. Jars containing garum, a fish sauce, show the

owner of property number 8 was trading with sea food. House and bottega number 9 belonged

to a painter; 150 little pots with pigments and paints were found there. 5 Who owned house

number 10 is unknown but maybe it was a joint workshop with number 9. Properties 9 and 10

were linked in the earlier phases. By the final stage the only link was the access to the well in

the garden.6 Further down the lane is the large house of Amarantus with bar area at the

crossroads of Via di Castricio. Jars of wine and the inscription Amarantus Pompeianus

provide us with the name of the wine trader.7 Entrance to the house of Amarantus is at the Via

di Castricio, as is the entrance to the neighbouring house number 13, Casa di Cerere, named

after a little terracotta bust representing Ceres.8 The lane at the west side of the insula is

closed by walls of buildings and gardens except for a modest entrance into the garden of

house number 13 and an entrance to the back of house 1.

1On insula I 9 and its houses, see Fulford, Wallace-Hadrill 1996; Fulford, Wallace-Hadrill 1998; Wallace-

Hadrill 2005; Bragantini et al. 1981, 89f.2

Freccero 2005.3

Eschebach 1993, 48.4

La Rocca et al. 2002, 232.5

Della Corte 1965, (726b) 340.6

Sophie Hay, personal comment, e-mail 2012-03-10.7Della Corte 1965, (726d) 340.

8La Rocca et al 2002, 228.



32

Fig.25. Above: Casa I 9, 8, room 8, north wall. Remains of a plain First style decoration with yellow socle, green

string course and white main zone. A later decoration partially covers the yellow socle at the northwest corner.

Fig.26. Below, to the left: plan of houses 8, 9 and 10. To the right: Casa I 9, 8, sampling spots.



33

I 9, 8 Casa e bottega

House I 9, 8 is situated at the east lane of the insula, just south of Casa del Frutteto and its

adjoining stable. The owner may have been Romulo, a man in the sea food business.9 Jars

containing conserved fish such as garum, an appreciated fish sauce, were found duringexcavations in 1952. According to Eschebach the house goes back to the Samnite period, and

was rebuilt with reused materials after the earthquake in AD 62.10 Great changes had taken

place in the interior part of the house where it connects with the garden and the bath area of

Casa di Successus. Sampling was done in room 8, 9 and 10, and the plaster samples were

compared to those in the same relative chronology in the neighbouring house.11

Plasters and phases

In room 8 there are traces at the north and west walls of a plain First style decoration,

consisting of a yellow socle above which is a string course painted green and the main zone of

smooth white plaster.12 The question posed was if a connection between the phases in the

house of Successus and this building could be established. The decoration in room 8

continues into the north wall which is the perimeter wall towards the garden of Casa di

Successus, indicating there was previously a door or a window, walled up during one of the

rebuilding periods. Room 8 was later redecorated in the Fourth style on plaster in group H.

The First style decoration consists of two layers, the earlier of which belongs to group A

subgroup Ab, and the second, carrying the decoration to group B. Although the two plaster

layers are of different kinds, they seemingly belong to the same phase. The same phenomenon

occurs in Casa di Successus; a fine-grained plaster of group Ab is found underneath a large-

grained that belongs to group B. It cannot, however, be excluded there are two decoration

periods. The two plaster types are found in Casa del Bell’Impluvio too, the fine-grained below

floor levels and the large-grained at the First style decoration in room 12.

In room 10 was a similar result. Trapped in the east wall was a plaster layer in group A, and

the first decoration was made on plaster in group B. The final decoration was in the Fourth

style. At the west wall, south-west corner, the first layer was cocciopesto, the same way as at

the other side of the wall, in Casa di Successus, room 10.

In room 9 triclinium fenestratum there are remains of a Third style decoration; a black socle

and a main zone on which the colours have faded. The plaster used belongs to group E. The

large window towards room 10 seems to be a late arrangement. The low wall, or high socle,

below the window was decorated in the same style, but the plaster belongs to group H. In the

9Della Corte 1965, (726a) 340.

10Eschebach 1993, 49.

11Sampling was done in 2004 in conjunction with the Director of the archaeological research project of the

British School at Rome, Andrew Wallace-Hadrill. For documentation concerning samples 8:1-8:16, seeappendix.12

PPP I, 102.



34

PPP the decoration is regarded as schematic Second style.13 Plaster analyses at the socle level

indicates Third style except for the part below the window, which was redecorated in the

same manner but in the Fourth style.

Results

Sixteen samples provided 5 plaster types including cocciopesto; A, B, E, H and X

(cocciopesto). The earliest plaster 8:3 has all characteristics of subgroup Ab; it mainly

consists of black particles of which many are long black broken crystals. There is a good

proportion between large and small grains and between lime and filler. The binder is clean

creamy white lime. The plaster is of good quality. Next phase, type, 8:1 is a large-grained

plaster used for some First style decorations in the area. The grains are mainly black and grey

and there is a lack of small grains, a combination that generally provokes fissures and voids as

the plaster sets. The binder is slightly grey-beige lime. One sample has dirty lime and one was

very frail. As many other plasters in this group it is of a fairly low quality. Sample 8:11 is

another plaster with large-grained filler, but it contains many grains of varying colours such

as beige, yellow and brown. The lime is clean creamy white. It is of modest quality due to

lack of small particles and some lime lumps. Five samples belong to group H, reused plasters

of the late days of Pompeii. The components differ in these plasters, but in common is the

sandy look and the many crushed small particles. Two samples belong to group X,

cocciopesto,

To sum up, the two earliest plasters in the house were found in walled up areas in room 8 and10. To the same period/periods belong the earliest plasters in the neighbouring Casa di

Successus. The three rooms sampled were redecorated in the Third style, and the area below

the large window in room 10 belongs to the Fourth style, suggesting the large opening was

made in the middle of the 1st century AD. The quality of the plasters in this house is of a

mediocre standard, except for the earliest phase.

13PPP I, 102.



35


Fig.27. Casa I 9, 10. Plan of the house with indications of sampling spots.

Fig.28. Casa I 9, 10. View towards the atrium and the stairway to the former upper floor.

Entering the broad access of this house there is no vestibulum but one proceeds directly into

the large space that formerly was the atrium.14 At the right side along the wall bordering the

street there is substantial remains of the staircase that lead to the upper floor, which is now

lost. The unusual disposition of spaces and the absence of vestibulum may by due to a late

restructuring of this and the nearby house number 11 Casa di Amarantus. Traces of decoration

are not mentioned in PPP but the floors are generally dated to the 2nd century BC.15 This may

have been a sculptor’s workshop, which would explain the need for a wide opening and a

large working space towards the street. The reason for suggesting a sculptor’s workshop is a

marble portrait of an unknown person Pompeianus which was found in the house during

excavation in 1952.16 At the interior sector, in the garden area, there was an open access

14Sampling was done in 2004 in conjunction with the Director of the archaeological research project of the

British School at Rome, Andrew Wallace-Hadrill. I am grateful to Sophie Hay for comments on this text. For

documentation concerning samples 10:1-10:5, see appendix.15PPP I, 103.

16Della Corte 1965, 726c) 340.



36

between houses number 9 and 10.17 Such an opening indicates there was a family or business

connection between the owners, as suggested by Eschebach.18 It seems there was an extension

of house 10 towards south with the integration of some rooms of the neighbouring house 11,

an enlargement that might point at a positive development in the artist’s or artists’

commissions.

Plasters and phases

Five samples were taken in the front area, room 1, 4 and 11. In room 4, on the west wall,

north-west corner, there is an early decoration with the typical pick-marks that indicate the

wall was prepared for redecoration. The perforated plaster belongs to group B, indicating a

decoration contemporary with the First style decoration in house 8. Samples from the last

decoration at the west and north wall in the atrium was made on a plaster that belongs to

group E, Third style and of the same kind as in house 8. Also in room 11 there is a plaster

seam, at the north-east corner, which belongs to an early decoration, plaster group B.

Results

Two plaster samples belong to group B and three to group E. Both groups contain plasters

with large grains. The earliest of these, 10:1, is distinctively large-grained with many rounded

grains, of which the majority is black or grey, but there are also some clusters of small grains.

There are few crystals. The binder is a clean white, slightly beige lime. One of the samples

has a stucco layer with a thickness of 4 mm. In areas with lack of small grains there are“airbags” or air -filled voids, as well as fissures in the lime. The later plaster 10:2 is similar to

10:1 because of the similar grain size and the rounded grains, but differs as far as the

composition of the aggregate; this filler contains more grains of varying colours such as

beige, brown and ochre. The lime is white or slightly beige and contains lime lumps. Both

plaster types are representative of their groups and of normal quality.

Summing up, there are traces of the original First style decoration, contemporary with

plasterwork in the neighbouring houses. Some redecoration in the front area was made in the

Third style.

17Hay, personal comment 2012-03-10.


Fig.27. Casa I 9, 10. Sampling spots.



37

Insula I 16: Casa I 16, 5

Fig.29. To the left: Casa I 16, 5, room 11, seen from the rear part towards the entrance.

Fig.30. To the right: the room seen from the entrance towards the rear part with red and green decoration.

Insula 16 in Regio I is a long rectangle like most blocks in the area. At the south end is the

large house number 5 with a hefty garden.19 The entrance is at Via della Palestra and at the

north end runs Via di Castricio. The house, of which the west section was not excavated, may

have been owned by a woman called Petronia.20 There are remains of decoration in some

rooms, one of which were sampled.

In room 11 there is a decoration in which two typologies are combined: a plain decoration in

the antechamber referred to as the Zone style and another in the First style in the alcove.21 The

antechamber decoration consists of a yellow socle above which is the main zone kept white.

According to D’Auria, this kind of decoration, normally with the division of the wall into

three horizontal zones, of which the middle zone was always plain white, belongs to a system

of the Hellenistic period. Sometimes the upper zone had mouldings or decorative elements. At

the interior part of the room the decoration scheme and colours change: the socle is painted

red and the main zone is green. The First style and the Zone style were contemporaneously

used in Pompeii.

19 This limited investigation was made together with Dora D’Auria, Università degli studi di Napoli L’Orientale.


21

D’Auria, personal communication February 2012. Forthcoming in: D.D’Auria, “Gli apparati decorativi dellecase di livello medio a Pompei in età ellenistica”, in N. Zimmermann (ed.), Antike Malerei zwischen Lokalstil

und Zeitstil? Atti del X Congresso Internazionale dell’AIPMA, Efeso 13 -18 Settembre 2010.



38

The objective of sampling and studying plasters in the room was to establish if the two

decorations were contemporary or not. Another question posed was if this kind of decoration

would be datable to the early or later period of the First style.

Results

The plaster used for the different parts of the room is the same. It belongs to group A,

subgroup Ab, contemporary with other First style plasterwork in the area. It is also compatible

with the plaster in the bath in house V 3, 8, which was decorated in the same plain Zone style.

A plaster of this type was used for the First style decoration of cubiculum 3 with alcove in

Casa del Centauro, a room decorated in two patterns, although in one style. Another example

on two patterns in one room is cubiculum 4 in Casa di Cerere, decorated in the early Second

style.

The plaster used is distinctively “black and white”; the filler mainly consists of small black

particles, angular and rounded, of which many are long black crystals. The binder is clean

white lime. The quality of the plaster is good; good proportion between lime and filler, and

between larger and smaller grains.

Fig.31. Detail of room 11 with two kinds of decoration.



39

Insula V 1: V 1, 7 Casa del Torello

Fig.32. Casa del Torello. View of the nymphaeum through tablinum.

Casa del Torello is situated at Via di Nola close to the crossroads of Via di Vesuvio andVicolo di Caecilius Iucundus, in the vicinity of Porta Vesuvio.22 This large domus is, together

with the narrow caupona in the north-west corner, the oldest building in the insula.23 Built in

the Samnite period, its prominent limestone ashlar façade was designed to be impressive. One

of the most famous elements of decoration in this house is the elaborate system of fountains in

the atrium and the peristyle’s noteworthy nympheum.24 Kitchen and bath areas were provided

with water too. The spaces discussed below are identified according to the plan used by the

Swedish team.

Laidlaw mentions First style decorations were preserved in the atrium and in the first and

second/third rooms at the east side of the atrium.25 The formerly large room 6/7 was divided

into two smaller during rebuilding in the late Republican period, and the northern space was

decorated in the Second style like many other rooms in the atrium area.26 Apparently, the

Second style decorations were made during two phases.

22The investigation was made together with Thomas Staub, who patiently answered all my questions on building

phases and the structure of the house.23

Leander-Touati 2010, 114.24

Staub 2008, 109, 112.25Laidlaw 1985, 102f; The three rooms are indicated as 6, 7 and 8 on the plan used by the Swedish team.

26Schefold 1957, 61.



40

To the earliest phase belong tablinum 13 and the alae (9, 14), decorated with painted pillars

and marble panels and, in the tablinum, a fake door in the centre like in the Villa dei Misteri.27

The decorative scheme in the left ala consisted of the high socle above which were broad

yellow panels imitating marble and smaller ones of violet hue, both with cinnabar borders.

Between the painted pillars were hanging fruit garlands and, crowning the walls were the

epistyle, frieze and cornice carried by slender standing figures, monochrome white. The right

ala had red panels with green borders in the main zone above which were green ones of

smaller size. There was also a central painting representing Leda and the swan. The other

rooms with remaining Second style decoration were made later, in the mature style.28 To the

later belongs the decoration in room 18, to the left of atrium. Some rooms, such as the first

room to the right of atrium (6) and the bath (19), received new decorations in the Third style.

Beyen points out that although the decoration of the bath was made in the Third style its

structure indicates it was built in the Second style.29 According to Bastet, the decoration in

room 6 was made in the late Third style.30

The questions posed about plaster layers in this house regard the time of re-decoration of

some spaces. Therefore the early periods were not investigated. Sampling was made in room

6, 7, 8, 15, 16, 18 and 19. Ten samples were studied and two kinds of plaster were identified.

These belong to group C, used for Second style decorations, and group E, used for

decorations in the Third style.

The first sample in the house, T1, was removed from the walled up doorway between room 15and the neighbouring Taberna V 1, 5. The plaster belongs to group E, connected with the

Third style. The decoration of the north wall in room 15 and the east side of the wall in

Taberna 5 have the same kind of plaster. To that period belongs the plaster used for

decoration of the bath, room 19. A layer that butts against an earlier decoration in the south-

east corner of room 19 belongs to group E too.

The second sample, T2, taken in room 7, provided the second type of plaster. It belongs to

group C, connected with the Second style. Sampling was made at the middle zone, below the

perforations for a stucco frieze. This kind of plaster was used for decorations in room 16 and

18, which corresponds with Beyen’s statement that the decoration in room 18 was in the

Second style.31 Many decorations in Casa di Cerere, which are definitely recognized as good

examples of the earlier or middle Second style were made on this kind of plaster. There is also

a stylistic resemblance between the description of the decoration in the left ala and e.g. room

4 in Casa di Cerere.

27Beyen 1960, 74.

28Beyen 1960, 80.

29

Beyen 1960, 73.30Bastet, de Vos 1979, 88.

31Beyen 1960, 73.



41

One fragment was sampled. It was found below the last floor level in room g , and the plaster

belongs to group C.

Plaster type T2 is representative of group C. It has an aggregate of very small particles, many

of which are crystals. The compact grains are mainly black and brown. The lime is clean

white with a few small lumps. The plaster is well composed and well mixed.

Plaster type T1 is quite representative for group E. Its large grains are in a variety of colours.

A particular characteristic is the beige grains shaped as beans. The lime is white, and in

abundance compared to the filler. Both plaster types are of good quality, and have stucco

layers that measure around 2-3 mm, which is a medium standard.

Fig 33. Casa del Torello. Plan with indication of sampling spots. Drawing : Based on CTC.



42

Fig.34. V 1 24b, south wall. The photo is copied from the homepage of Insula V 1, Swedish Pompeii Project.

Photo: Hans Thorwid.



43

V 1 24 Taberna

This study is connected to a problematic area of a brick repair in the shop situated between

the two joined properties of Casa di Caecilius Iucundus. The objective was to identify plaster

types that might shed a light over the period when the repair of the wall was made.32 Was it

before or after the earthquake in AD 62?

The minute property number 24 consists of two rooms, the shop area a, and the inner room b.

At the south wall in room b there is a large brick repair, around which some questions have

been raised. The repair, situated close to the southwest corner, begins at the floor level and

reaches the height of approximately two meters. According to archaeological interpretation,

the whole wall has tilted in the direction of the front room due to destabilizing cesspits at both

sides of the wall towards Casa di Caecilius Iucundus V 1, 26. Anne-Marie Leander Touati

suggests other possible reasons than the earthquake for this repair.33 Plaster analyses on top of

the repair had confirmed a pre-earthquake dating of the repair.

The present investigation began with a study of the results of a previous investigation, in

which plasters on the repair as well as on the east and west walls had been identified as in the

First or early Second style.34 This plastering phase was, on south and east walls covered by a

plaster type labelled 4D3, connected with the Fourth or late Third style, according to the

documentation mentioned above.

At the time of sampling I inspected the south, west, and east walls of the room, as well as the

rear side of the wall, that is, the north wall in room c in the South House of Casa di Iucundus,where no similar damage was noticed.35

Plasters and phases

Six samples were obtained in room 24b. The first sample (24:1) was removed from a very

thin and uneven little plaster remnant on the brick repair. The sample consisted almost

exclusively of grains, since the lime had washed out. It was a large-grained plaster common

for plaster in group B as well as in group E. The presence of beige and red grains is not

typical of group B but indicate the later period, group E.

32This very limited study was made in collaboration with Anne-Marie Leander Touati. For documentation

concerning samples 24:1-24:6, see appendix.33

Leander Touati 2010, 131-132.34

Pettersson, in the plaster analyses report 2006, recognizes the plaster as similar to 1A12 in Casa degli

Epigrammi Greci, which she identified as of the Second style. This kind of plaster is in my system placed into

group B, which contains plasters of the late First and early Second style.35 Inspection and sampling was made in October 2010. The plan in PPP of insula V 1, indicates an opening

between 24b and room c in V 1 26. The problem which disturbed me was solved by Renée Forsell who had

measured the walls to understand the correlation between the repair end the latrine channel in the shop at theother side of the wall, and found that a cross-wall butts against the south wall in 24b, exactly at the position of

the repair; a mistake must have been made on the plan mentioned above.



44

Sample number 24:1 was not quite representative of any period, but the second one, is.

Sample 24:2 was removed at a plaster layer on the clay lining that had been applied over

several bricks; this plaster definitely belongs to group E with its many yellow and beige

grains and the clean white lime. The fillers of the two samples are similar, as is also that of

sample number 3, removed at a layer, which is overlapping the southwest corner. There is

also an unusual presence of small yellow particles in the lime and among the grains in

samples 24:1 and 24:2. The composition of the filler is of the same kind in the three samples,

but the lime is not; in sample 24:1 there is hardly any lime left, 24:12 has enough lime which

is clean, and the lime of 24:3 is something in between. The absence of clay lining underneath

sample 24:1 still needs to be explained; maybe the clay was not applied in an even layer, but

only where it was necessary to make a smooth area. However, the three samples belong to

group E.

Sample number 4 comes from the doorway at the west wall, towards room 24a. This plaster is

different. Its’ filler is similar to 24:2, but the smaller grains and more crystals are

characteristics of group F. Also sample number 6, taken at south wall at the east side of the

brick repair belongs to the group F. At the west side of the repair is an area of plaster that

belongs to group G, indicating a repair made after the earthquake in 62.

Results

Three different kinds of plaster were identified, and these belong to groups E, F and G,

indicating plastering in the Third and possibly in the late Third/early Fourth style as well as arepair made after the earthquake. No plaster of an earlier period was found.

The samples of plaster type 24:1 have the same kind of filler but only one of these, 24:2 is

quite representative for group E. The other two are of meagre quality. The plasters in group F

are of good quality, well balanced and well mixed. The aggregate is many-coloured and

contains large and small particles, many of which are crystals. Sample 24:5 is brown and

contains crushed materials of various kinds, typical of plasters used for repairs during the

final period. Taking all information into account, plaster analyses confirm that the repair was

made before the earthquake in AD 62 and there were re-decorations in the room slightly later.

When new damages appeared after the earthquake these were mended with a brown plaster

made of reused materials.



45

Insula V 3: Casa V 3, 8

Fig.35. To the right: The bath, east wall with slit window.

Fig.36. To the right: The tablinum, west wall. Remains of Zone style decoration.

This house and bakery has the main entrance towards Via di Nola. 36 The rebuilt Tuscanic

atrium, mill stones, working bench and a large oven show it was transformed into a bakery

and functioned as such at the time of the eruption.37 There still are some remnants of the

original First style decoration in a few rooms, such as the atrium, the tablinum, and cubiculum

5. In cubiculum 5 there is a smooth stucco cornice at the upper zone and a fragment of a

fascia.38 The tablinum preserves a traditional yellow socle above which is a string course and

the main zone of horizontal drafted panels. Three courses of drafted panels in the upper zone

are separated from the main zone by a fillet. The upper wall was crowned by a fascia and

dentil cornice.39 In the central part of the house, east of tablinum and andron is a latrine or

bath with vaulted ceiling and a small window overlooking the street.

Fairly much of a decoration in the so called Zone style, of the same kind as in house I 16, 5,

room 11, is preserved.40 On south and north walls is a recessed cocciopesto socle below a flat

upper wall with red fascia.41 The access to the bath is through an arched doorway. Three

36 This limited study was made together with Dora D’Aur ia, Università degli studi di Napoli L’Orientale.


38PPP II, 75; Laidlaw 1985, 113.

39

Laidlaw 1985, 113; PPP II, 74.40 D’Auria, 2010, forthcoming.

41Laidlaw, 1985, 113.



46

samples were taken in the house; two in tablinum and one in the bath. The objective was to

compare the plaster with that of a similar plain First style decoration in Casa I 16 5.

Results

The plaster is distinctively “black and white” and belongs to the First style, group A. Its main

characteristics such as the aggregate of prevalently black particles, of which many are broken

black crystals, indicate subgroup Ab. But the many small rounded grains are characteristic of

subgroup Aa too. Plasters in the later group are often containing more brown and grey grains

and, therefore, this plaster is placed into subgroup Ab. The lime is white and the plaster of

good quality; well proportioned, well mixed and in good condition. It is of the same kind as

that used in Casa I 16, 5.

Fig.37. Casa V 3, 8. Atrium and bakery.



47

REGIO VI and VII: “Pompei. Progetto Regio VI”

“Pompei. Progetto Regio VI” was initially a joint project of the universities of Perugia, Napoli

L’Orientale, Trieste and Venezia, later joined by Siena.42 The objective was to carry out

stratigraphic excavations and research, aiming at publishing until now inedited excavations in

the region. Eight of the sixteen insulae have been subject to investigations, and successively

the project was extended to regions V, VII and IX.43

Series of trenches were made in the individual houses to establish construction periods.

Documentation and definitions used within the different houses of this vast project has been

made according to pre-established principles. Two distinctive building phases have been

identified: the earliest to the 6th and 5th centuries BC after which there was a period of

abandonment, until a second intense construction period began in the 3rd and 2nd centuries BC.

The existence of an archaic phase contemporary with the period of pappamonte walls has

been ascertained. Remains of archaic structures dated to the 3rd century BC are regularly

found under later buildings.44 The largest plots are found in particularly good positions such

as a natural high level within the insula, close to crossroads or important roads.45 These

archaic structures are defined as “protocase”.

Some buildings within the Progetto Regio VI were selected for sampling in the present plaster

study.46 Sampling in Casa del Centauro, Casa del Granduca Michele and Casa di Sallustius

was made in 2005. During sampling, some odd plasters found at levels that could only be of

the First style or earlier, made me assume they represented a period prior to the First style.Further sampling and analyses was postponed until the project received funding in 2010. Casa

delle Amazzoni and Casa del Marinaio were sampled in 2010-11, as were the fragments of

wall paintings found in all houses.

42 On the project see publications ”Il progetto Regio VI” in Rivista di Studi Pompeiani 15-22, Coarelli, Pesando

(eds) 2003, 2004, 2005, and Pesando et al. 2006, 2007, 2008, 2011.43

Coarelli 2008, 173.44

Coarelli 2008, 175; Pesando 2008, 159.45

Pesando 2008, 161.46

VI 2, 4 Casa di Sallustius,VI 2, 14 Casa delle Amazzoni, VI 5, 5 Casa del Granduca Michele, VI 9, 3-5 Casadel Centauro, VII 15, 1-2 Casa del Marinaio, as well as houses I 16, 5 and V 3, 8.



48

VI 2, 4 Casa di Sallustius

Fig.38. Sampling at the continuation of the foundation wall from the atrium in room 16 to the south.

Casa di Sallustius is a prominent house of large dimensions situated along Vicolo di Narciso

and in the vicinity of Porta Ercolano.47 It is a characteristic house of the 2nd century BC, by

Maiuri considered to be one of the noblest examples of a pre-Roman house of the Samnite

period.48 Large part of the impressive First style decoration remains in many rooms around

the atrium.49

Three samples were obtained in Casa di Sallustius. Two of these were removed from levels

below the last floor in room 35 and one in room 16, presumed to represent the earliest

decoration phase, or phases. The samples were studied under the microscope, and later analysed at CNR/ICVBC in Florence.50

Results

The three samples have the same kind of plaster which belongs to group A, subgroup Aa,

used in buildings during an early phase of the First style. To the same group belong plasters

used for First style decorations in the Temple of Apollo and Casa del Granduca Michele. The

results of the two investigations are similar; the three samples belong to the same group. The

plaster has high quality plaster typical of fine First style decorations. The filler mainly

consists of black particles of which many are long black broken crystals. The grains are

rounded and generally of very small size, a characteristic indicating subgroup Aa, just as the

inclusion of brown and beige small grains. The binder is clean white or slightly beige lime

with just a few small lumps.

47Stella, Laidlaw 2008, 156. The house is studied within Progetto Regio VI.

48

Maiuri 1955, 41.49PPP II, 116-123.

50For schedules and results of the investigation, see appendix.



49

VI 2, 14, Casa delle Amazzoni

Fig.39. To the left: View from fauces through atrium to tablinum.

Fig.40: To the right: Casa delle Amazzoni, plan of the house and sampling spots. Drawing : V.Gasparini.

Casa delle Amazzoni is a house of medium sized dimensions, situated along Vicolo di

Narciso in the east sector of insula VI 2.51 The house was subject to stratigraphic excavations

between 2002 and 2006. The present investigation was to study plasters of the earliest phases

still in situ in relation to a presumed redecoration in the Third style.

This building belongs to the oldest group of houses at the insula, constructed in the Samnite

period in the second half of the 3rd century BC, and its façade built in opus africanum.52 Casa

delle Amazzoni has essentially maintained its original structure and dimensions, indicating

that the building phases were few. Remains of First style decorations in the fauces were

identified by Mau.53 The decoration was given indentations by a pick-hammer before the

plaster of the later decoration, regarded as in the Third style, was applied. A similar hacked

layer in cubiculum 4 was regarded in PPP as illegible and another one, the red socle in atrium

2 not mentioned at all.54 The last decoration in the atrium was considered to be in the Fourth

style, as were the decorations in rooms 9, 10, 11 and 13. A decoration in room 8 was

recognized as in the Third style.55 Paintings of amazons in oecus have provided the name of

this house.56

51The investigation was made in collaboration with Valentina Befani, Università di Perugia. The house is

studied within Progetto Regio VI. For documentation regarding samples CA1-CA11, see appendix.52

Befani et al. 2011, 460.53

PPP II, 126.54

PPP II, 127.55Schefold 1957, 94.




50

Most walls were constructed in opus africanum while the north atrium wall, the boundary

wall towards the adjoining house number 15, was made in opus incertum of lava and

limestone, which would indicate a later construction period.57 The red socle of the first period

corresponds with the floor level of the Samnite period in the 2nd century BC. At that level, a

floor of terra battuta, ceramic fragments dated to the end of the 6 th and beginning of the 5th

century BC was found.

Plasters and phases

Plastered layers in room I, 2, 4, 8, and a fragment found in room 4, provided in total eleven

samples. Sampling began at the north wall in atrium 2, where two decorated plaster layers are

visible below the present ground level. Between these are two undecorated layers, the lower

of which was perforated to secure good adherence for the next application of plaster. Sample

CA1, taken at the earliest red socle, represents the first phase in the building; it is a brown

plaster, different to plasters in group A. The second layer, CA2, is a brown plaster too.

Applied on the first phase, this layer with hack-marks may be interpreted as an intermediate

phase or a decoration, applied some time before the next layer, CA3. Sample CA3 was

removed from a thin white plaster layer that functioned as a preparation for the second

decoration with red painted surface, represented by CA4. On top of all these layers is the final

one, a decoration represented by sample CA11, a plaster type that belongs to group F. Plasters

in group F are related to the Third style and may have been used in the early Fourth style too.

CA11---------- Last decoration.

CA4----------- Fourth layer, decoration, red socle.

CA3----------- Third layer, a thin plaster layer.

CA2----------- Second layer, white plaster layer with hack-marks.

CA1----------- First decoration, red socle.

A hacked layer in fauces 1 was sampled. It was covered with a decoration that Mau

stylistically identified as in the Third style, not sampled. In room 4, at the south wall are two

decoration periods. The first phase is contemporary with the second red socle in the atrium,

and the redecoration was made on plaster in group F and of the same kind as the final

decoration of the atrium. At the east wall in room 8 towards the atrium is a large decorated

area, its angle rounded. This plaster belongs to the second red socle period too. One fragment

from a red drafted panel was sampled, and the plaster was of the same kind as CA3.

57Befani et al 2011, 460.



51

Results

There are three decoration phases at the north wall in the atrium, two early with red socle and

one that represents the last decoration in the room. The two red socles have different kinds of

plaster. The hacked layer in the atrium and the layer with hack-marks in fauces are of the

same kind.

Many samples in this house have been analyzed at the CNR/ICVBC and compared to beige-

brown-grey samples in other houses. The observations made under the microscope are

confirmed by laboratory analyses; the earliest plaster, CA1 is in a group of plasters labelled 0

after the concept stile zero. To this group belongs the plaster of a fragment with a painted

wave motif, found in Casa del Centauro. Sample CA2 corresponds to the earliest plasters in

Casa del Granduca Michele. CA3 and CA4 are not identical but have the same kind of filler.

Regarding CA3/CA4 the result of the two investigations are slightly different. Laboratory

analyses consign the plaster to an intermediate group with characteristics of group 0 and

group Aa. To this group belongs the second phase at Casa del Centauro, CC5, which is the

earliest registered in situ. According to my observations CA4, in spite of its beige appearance,

belongs to plasters in group A, subgroup Aa rather than to group 0.

How explain the four layers of early plasters on the north atrium wall? This wall, the

boundary wall to the neighbouring house number 11 was made in opus incertum, a type of

wall construction later than the plaster used for earliest decoration of the north wall. One

possible explanation might be there was an earlier perimeter wall, possibly in opus africanum,

in the same location, a hypothesis rejected by Befani, since excavations did not reveal anysigns of such a wall.58 Another observation made during excavation was, that the opus

africanum wall at the façade continues for another meter compared to the present wall, which

might indicate the earlier perimeter wall was slightly further north. Excavation of the area was

not possible due to the good preservation of the next door mosaic floor. Therefore, the

question about the early decoration plaster remains unsolved. However, the early date of the

plaster corresponds with the date of the original structures of the house in the early 3rd

century.

Summing up, there were comparatively few decoration phases; after the initial period of Style

zero and the First style, the decoration seemingly was intact until redecoration took place in

the late Third or early Fourth style. All plasters used in this house are brown or beige, with the

exception of plasters in group F. Plasters that carry decoration have good proportions between

small and larger particles and between lime and filler. Laboratory analyses show that the

brown/beige colour was not due to earth but to the very small size of many grains.

58Befani, personal communication 2012-03-08.



52

VI 5, 5 Casa del Granduca Michele

Fig.41. Plan of Casa del Granduca Michele, protocasa, in grey the structures of the II phase (middle of the 2nd

century BC), with indication of sampling spots. Drawing : Dora D’Auria.

Casa del Granduca Michele, with its main entrance at the Vicolo di Modesto, is a traditional

house of the Samnite period from the end of the 3 rd century BC.59 In this house the Samnite

period is divided into two phases, distinguished by different kinds of decoration.60 To the late

Samnite period belongs the construction of a courtyard probably with colonnade around, in

which were eight rooms at the rear part of the dwelling. The house as seen today is organized

around the Tuscan atrium and was, as other houses of the period, built in opus incertum. The

building’s history goes back to even earlier date. Trenches in the garden and elsewhere in the

house reveal three floor levels that correspond with construction phases. To the earliest period

belong floors of terra battuta, made on a preparation of crushed travertine.61 In room 5 such a

floor covered with a layer of ashes points at the type suggested by Vitruvius for winter

triclinia, opus graecanicum. Next is the floor of the protocasa dated to the great rebuilding

period in the middle of the 2nd century BC.62 Finally, the floor levels were slightly raised in

the Imperial period at the end of the 1st century BC. Underneath the 1st century BC peristyle,

in room 9a of the protocasa there are remains of a yellow socle and a white main zone. Plainwhite fragments of wall paintings and the absence of drafted panels suggest the more than 6 m

long north wall of opus formaceum was decorated in the Zone style.63

59 The investigation was made in collaboration with Dora D’Auria, Universita degli studi di Napoli L’Orientale.

The house is studied within Progetto Regio VI. For documentation on samples GM1-GM20, see appendix.60

D’Auria, personal communication regarding building materials and construction phases 2012-03-05.61

D’Auria 2011, 447f. 62Pesando 2005, 94f.

63 D’Auria 2011, 453.



53

The original decoration in the First style remains in some areas such as at the socle levels in

room 9b, in fauces 1 and in the atrium. Excavation of the atrium has provided two different

kinds of First style cornices, found in association with fragments compatible with the

redecoration in the 2nd century BC. The shape of one fragment, painted in yellow and wine

red, had an area showing it was a connected with the ceiling. The second had a painted

decoration referring to a Lesbian cymatium. Fragments with similar decoration found in

domus VI 16, 26, were dated slightly earlier, to the end of the 3 rd or beginning of the 2nd

century BC.64 Two types of ceiling fragments were found in the atrium too. One was a

cassette decoration and the other a cubic pattern, the later known from mosaic pavements and

wall decorations of the Second style, such as those in the Casa dei Grifi in Rome. In Pompeii

the pattern, combined with a motif of a painted wave, is known only in room 7 in domus I 20,

4.65 In Casa del Fauno the cubic pattern was used in one room and in another room, the black

wave motif is found on the socle below the main zone which is in the First style. 66 To the late

period in Casa del Granduca Michele belong Fourth style decorations in triclinium and

peristyle 9.67

Sampling in situ was made during the excavation campaign in 2005. Not only plaster was

sampled but additional materials as well, such as waterproof plaster and opus graecanicum.68

Later, eight fragments of wall plaster were sampled too. In total, twenty samples were studied.

Samples were taken in room 1, 5, 7, 9b and 9c, below levels dated to the period prior to or

connected with a floor of the Samnite house. The fragments were found at excavations of

room 5, atrium 2 and room 9a.

Plasters and phases

All samples obtained in situ are from layers are of the Samnite period, either period II, phase

1 or period II, phase 2. The first sample, GM1, was obtained at the yellow socle in room 9b,

dated to period II, phase 2. The second sample, GM2, was removed from a layer situated at a

level below the floor of period II phase 2, in the same room. The plasters were of different

kinds; GM1 was identified as belonging to group A, while there were uncertainties regarding

GM2, which either might be a preparation layer or a plaster of an earlier phase. Sample

number four, GM4, was removed from a layer below the floor in room 9c, a plaster that was

partially covered by a decoration of a later period, represented by type GM1. These samples

were in a group of eight analysed at CNR/ICVBC in Florence.

64 D’Auria 2011, 454.

65 D’Auria 2011, 456.

66Brun 2008, 68.

67PPP II 144; Eschebach 1993, 169f.

68 GM3 (presumed pavement), GM9 (waterproof plaster), GM10 (opus graecanicum). Another sample, GM7,

created problems because it was different from all other plasters. In the end, a second sample was taken, and the

problem was solved: the new sample, GM7 new, was of a kind that would be expected. The first GM7 had beenremoved from a repair made already in antiquity.



54

Results

Laboratory analyses attribute the plaster of GM2 to group 0, period II phase 1 or earlier. The

very fine-grained filler gives the plaster a dark brown appearance. Sample GM11, taken from

a fragment found in the preparation for the opus graecanicum floor belongs to the same

group. Plaster type GM4 belongs group Aa, related to period II phase 1. It was found in room

9c were the decoration was in relative chronology with next phase, type GM1, group Ab,

which is connected with the yellow socles of the Samnite house, period II phase 2. All

decorated fragments investigated either belong to subgroup Aa or Ab. As an example, the

cornice fragment decorated with Lesbian cymatium and the cassette decoration had plaster

type GM4, the cubic pattern type GM1. Most samples are easily attributed to either Aa or Ab,

but some have characteristics of both groups. In one case, GM19, there is a resemblance

between GM4 and GM2. In general, the plasters are of high quality, well mixed and well

balanced as is usual for materials used in First style decoration. Even the brown plasters of the

earliest phase are of a good quality.

Fig.42. Casa del Granduca Michele, room 9b towards room 9a. Different floor levels.



55

VI 9, 3-5 Casa del Centauro

Fig.43. To the left: Casa del Centauro, cubiculum 2 with window overlooking the street. The yellow socle

belongs to the Samnite house. The red decoration belongs to the period of the raised floor.

Fig.44. To the right: Casa del Centauro, plan of the house and indication of sampling spots. Drawing : PPP.

Casa del Centauro, situated between the Via di Mercurio and Vico del Fauno, is also knownas the domus of A. Vettius Caprasius Felix.69 The oldest part of the house at entrance number

3 dates back to the second quarter of the 2nd century BC, a period when the city block

received the layout visible today. Underneath the walls of the present house are the structures

of the preceding, modest sized protocasa, dated to between the end of the 4th and beginning of

the 3rd century BC (period III, phase 1). The protocasa was partially restructured at the end of

the 3rd century, (period III, phase 2).70 Remains of decorations connected to both periods have

been found. Studies of the wall structures reveal that the walls at the north side of the atrium

towards the neighbouring house Casa del Meleagro, built in opus africanum bonded mainly

with clay, and the façade in opus quadratum are the oldest remaining structures.71 The

protocasa was destroyed at the middle of the 2nd century BC and the floor level raised in the

new house, as proved, for example, in cubiculum 2, to the left of fauces. To the same period

belong traces of a red socle in the atrium.72

69The investigation was made in collaboration with Antonella Aiello and Renata Esposito, Università degli studi

di Napoli L’Orientale. The house is studied within Progetto Regio VI. For documentation regarding samples

CC1-CC18, see appendix.70

Esposito 2011, 440f. There are earlier construction phases, I and II, underneath the Samnite house.71Pesando 2005, 84.

72Esposito 2011, 438.



56

At the beginning of the 2nd century BC (period IV), the house received a Tuscan atrium and it

was extended to comprise the nearby property with entrance at VI 5, 5. Slightly later is the

well known First style decoration in cubiculum 3, described by Mau.73 Fragmentary

decorations in the First style were identified by Laidlaw too, in oecus 2, cubiculum 5a, 5d and

oecus 32, mentioning that Mau noted traces also in cubiculum 5b and 5c.74

Third style decorations, as well as some illegible, were noted by Mau in tablinum 6, and in the

tablinum (26) behind the Corinthian atrium.75 The later, dated to 30-45 AD, had mythological

motifs depicting Meleager and Atalanta, Hercules and Nessus.76 Richardson attributes these

paintings to the so called Centauro painter.77 Cubiculum 2 and other rooms in the building

later received new decorations in the Fourth style.78 Schefold mentions Fourth style

decorations with animals and floating figures, and mythological paintings in the same style in

the exedra behind the peristyle. Finds of medical instruments and glass bottles indicate this

was a doctor’s house and studio.79 In the present investigation, the earliest decoration periods

have been in focus.

Plasters and phases

Sampling was made at decorated layers in room 2, 3, 5b, 16 and 32, at stylistically identified

First style decorations or at decorated layers trapped behind later cross-walls. Ten fragments

found during excavation of fauces at entrance 3, room 4, 5b, 5c, and 16, were sampled with

the objective of finding a possible correlation between fragments and decorations still in situ.

The fragments had been sorted into nuclei based on studies of materials, stylistic elements andthe area in which they were found. All were attributed to period III, phase 1 or phase 2.

Among the fragments was part of a wave pattern painted in black on a white background. 80 In

total, twenty small samples were studied, five of these analysed at CNR/ICVBC in Florence.

The first sample, CC1, was supposed to provide the earliest plaster type in the house. It was

obtained at the yellow socle in cubiculum 2, connected with the floor of the Samnite house.

The plaster belongs to group A, subgroup Ab. The second sample, CC2, was taken in

cubiculum 3, decorated in the First style. This plaster belongs to group B, which includes

plasters from First and early Second style decorations. Behind the south wall of cubiculum 3,

in room 15, entrance 4, there is a decoration with plaster and stucco trapped behind the later

constructed cross-wall, south wall of cubiculum 3. This plaster, CC5, was expected to be of

the same kind as CC1, but was quite different; grey and with very small grains. It has

characteristics of group 0, early plasters that look grey, beige or brown.

73PPP II, 202; (Mau W 74-75); Schefold 1957, 114.

74Laidlaw 152.

75PPM II, 204.

76Bastet, De Vos 1979, 58.

77Richardson 2000, 61.

78

PPM II, 202.79Eschebach 1993, 189f.

80Brun 2008, 66f; Pesando 2008, 170.



57

Results

Plasters in group 0, Ab and B, were identified. The earliest phase in situ was found in room

15 trapped behind a wall. To this phase belongs a socle at the first floor level in room 16, the

fragment with black wave pattern on white background, indicative of stile zero, and fragments

found in fauces of entrance 3, room 4 and 5c (phase 1, nuclei I and II, end of the 4th,

beginning of the 3rd century BC). Laboratory analyses attribute the plaster in room 15 and the

wave motif to group 0/Aa, together with plaster CA3/CA4. The plaster of the decoration in

cubiculum 2 and the plaster of six fragments in nuclei III and IV (phase 2, nuclei III and IV,

end of the 3rd century BC) belong to group Ab. To the same group belong plasters of likewise

yellow socles in Casa del Granduca Michele and Casa di Amarantus. The plaster in cubiculum

3, antechamber and alcove is later, and belongs to group B. All the plasters in this house are

of a high quality. The lime is clean, the fillers have good proportions between large and small

grains, and the components are well mixed. Also the grey/beige plasters of the earliest phase

are of excellent quality.

Fig.45. Casa del Centauro, atrium towards f auces and the street. In the left side building is cubiculum 3, and in

the one at the right side is cubiculum 2.



58

VII 15, 1-2 Casa del Marinaio

Fig.46. To the left: Casa del Marinaio, atrium. View towards the northeast sector.

Fig.47. Casa del Marinaio, plan of the house with indication of sampling spots. Drawing : V.Gasparini.

Casa del Marinaio is situated along Vicolo del Gallo in the eastern sector of insula VII 5, and

it occupies about a third of its entire area. 81 According to Franklin the oldest part is the classic

atrium house at the high terraced plot while the rooms in the sunken garden area were

constructed later.82 The atrium walls of limestone framework with ashlar blocks

predominating, and the façade was rebuilt.83 Recent excavations have revealed that the

structures visible today were built in the beginning of the 1st century BC.84 A trench excavated

in room c along the boundary wall towards the neighbouring house number 3, brought into

light the earlier structure of the original perimeter wall. Also the trench in room l provided

material of the earlier building, the protocasa, of the late 3rd or early 2nd century which was

demolished when the present walls were built and the floor paved at a higher level in the 1 st

century BC.85

The rooms in the atrium complex were richly decorated. Most of the floors were paved with

black and white mosaics, among these the ships-mosaic in the fauces that gave the house its

name.86 Laidlaw dates the pavements to the Republican-early Augustan period. The baths in

the rear part of the building were added in the Augustan era, a period when most of the

decorations were made.87

81The investigation was made in collaboration with Marinella Antolini and Valentina Befani, Universita di

Napoli L’Orientale. The house is studied within Progetto Regio VI. For documentation regarding samples CM1-

CM11, see appendix.82

Franklin 1990, 45.83

Laidlaw 259-60; Eschebach 1993, 341f.84

Antolini et al. 2007, 9.85

Befani et al 2011, 462f.86Franklin 1990, 21.

87Befani et al. 2011, 461; Franklin 1990, 60.



59

First style decoration remains in room q and r , which opens into corridor p that leads from the

atrium to back garden. This was originally a single room with walls of limestone and lava

rubblework. Traces of a yellow socle, under two rectangular black horizontal drafted panels

are preserved on the east wall of room r , and the decoration continues into room q behind a

later crosswall.88 Directly above the panels there is a projecting string course with a green

fascia and a white bottom edge; its crowning moulding is lost. In cubiculum m, at the west

side of fauces opening onto the atrium, Laidlaw mentions possible traces of a First style

pattern in the undercoat beneath a later redecoration. Mau noted a recessed red socle below a

flat white upper wall in the room in front of the baths but no traces of this structure remain.

Paintings with mythological motifs in the Third style have been observed in various rooms,

among these in exedra z , where the massacre of the Niobids was represented on the north

wall.89 This painting was, according to Richardson, the work of an artist called the Triclinium

painter.90 Further motifs in the bath area, made in a different artistic style, depicting Perseus

and Andromeda, The Punishment of Dirce, and Polyphemus and Galatea, suggest these were

works of the so called Boscotrecase painter.91 A painting with mausoleum, temples and

porticoes against a marine landscape, was recorded on an aquarelle of an anonymous artist.92

Plasters and phases

Eleven samples were obtained from a few selected areas on walls in room c, m, r , and q.

Later, four fragments found in rooms l and c, were sampled as well. Approximately 1000

fragments of wall paintings had been found during excavations, and these had been divided by the archaeologists into two nuclei based on typology and decoration.93 The objective of

sampling some fragments was to understand if there was a relation to plasters still in situ and

if there was any difference between the plasters in the two nuclei.

Four samples were obtained in room c. The first, CM1, was removed from a yellow socle at

the west wall. The plaster with its clean white lime and many-coloured large grains belongs to

group E, connected with the Third style. Sample number two, CM2, was obtained at the north

wall from the first layer which was covered with a later decoration. The plaster on the earlier

layer belongs to group A. It is a distinct “black and white” plaster, with clean white lime and

lots of black grains and crystals. The aggregate with its small, rounded grains and the

presence of some grey and brown are indicative of subgroup Aa. Samples 3 and 4 from layers

at the North and south walls respectively, belong to group E.

Sample number six, CM 6, removed from a yellow decoration in room r , trapped behind a

later cross-wall is compatible with CM2, group Aa. There is a difference; CM2 has slightly

88Laidlaw, 259f.

89Franklin 1990, 21. The paintings are dated to between 20BC-AD37.


91

Richardson 2000, 39.92Pompei 1748-1980, 135.

93Befani et al. 2011, 464f.



60

larger grains and a mixture of grains of volcanic materials plus crystals or pyroxenes, while

CM6 is of a type that occasionally appears as top layer; it has an aggregate consisting almost

completely of pyroxenes. Samples CM2 and CM6 belong to the same decoration period,

group A, subgroup Aa.

ResultsTo sum up, three plaster types were found in Casa del Marinaio, two of which belong to the

First style and one representing the Third, confirming archaeological and stylistic

interpretations. The first decoration phase in room c and room q was made in the First style

and later redecorated in the Third style. The remains of decorations in room m and room q,

belong to the Third style. The fragments investigated had plasters that belong to group Aa;

sometimes distinctly type CM6 and sometimes with characteristics of CM6 as well as CM2.

All plasters are of high quality; well composed and well mixed. Those of the First style have

clean white lime with only few lime lumps while the samples of the Third had white lime

with some larger lumps.

Fig.48. Casa del Marinaio. View from the atrium towards fauces and the entrance.



61

Regio VIII: The Temple of Venus

The plateau on which the temple of Venus is erected is situated at a close distance of the

former harbour of Pompeii, at the exit of the river Sarno and facing the golf of Naples.94

Usually, the temple is regarded as dated to the foundation of the Roman colony, the goddess

being the patroness of the city Colonia Cornelia Veneria Pompeianorum. Excavations made

in the last decade show that the Sanctuary is much older: the Temple is in fact created at an

area sacred since the archaic period.95 The earliest structures of pappamonte found underneath

the temple date back to the 5th century BC. After a period of abandon, noted at many

excavations, there was a new intense construction period in the late 3rd and early 2nd

centuries.96 Archaeological finds show the archaic building was a sanctuary, possibly to

Venus Fisica, related to the Oscan culture. At the end of the 2nd century the temple stood on a

platform and was surrounded with a building, presumably a portico. At this level fragments of

a First style ceiling were found, indicating the building was roofed.97

In the late Augustan-early or Tiberian time there was a new period of construction and

reconstructions. When foundations and standing structures collapsed due to the earthquake of

62 BC, main part of the area was demolished and foundations made for buildings in a new

project was never finished.

Three fragments of wall painting found in structures sealed by a later paving at the destruction

level of a 3rd century edifice, and one fragment at a level unknown during the excavation

campaign in 2005 were sampled and analysed.

Results

Two of the fragments have plasters that belong to group 0 and two have plasters that belong

to group A. Both plaster types are of high quality; the lime is clean and with few lime lumps,

the proportions between lime and filler are good as is the mixture of large and small grains.

94The fragments investigated were sampled during the on-going excavation in 2005, and investigation made as

collaboration with the Director, prof. Emmanuele Curti, University of Matera. For documentation on samples

Venus1-Venus4, see appendix.95

Curti 2008, 47ff.96Coarelli 2008, 174; Pesando 2008, 159ff; Pucci et al 2008, 229.

97Curti 2008, 55.



62

Regio IX

IX 3, 5/24 Casa di Marcus Lucretius

Fig. 49. Casa di Marcus Lucretius, plan with indications of trenches and sampling spots.

The large house of Marcus Lucretius is located in the centre of Pompeii at the Via Stabiana,

an area with natural elevations.98 House number 24 is one of the oldest buildings in the insula,

its façade in opus quadratum and the inner walls in opus africanum.99 Even older structures of

a pre-existing building, ashlars of pappamonte, were found during excavations at the highest

levels in the north part of the plot.100 Several re-building periods have been noted, the latest of

which was in the 1st century AD, when the house was re-decorated with Fourth style

paintings. An over-all adornment program was used for colours as well as mythological

themes, of which motifs representing Dionysos, wine and theatre were dominating. Many

central paintings were removed after excavation in 1847. Those that remain in situ are badly

decayed. Maiuri describes this as a noble house with beautiful decorations.101

98The investigation was made in collaboration with the Director, prof. Antero Tammisto, University of Helsinki.

For documentation regarding samples ML1-ML16, see appendix.99

Castrén, Tammiisto 2008, 333.100Castrén, Tammisto 2008, 331.

101Maiuri 1955, 57f.



63

Among the themes depicted in triclinium 16 are Hercules and Omfale, flanked by scenes

representing victories of Dionysos and in the side fields of each wall are paintings of Psyches

and putti.102 In room 25, the exedra or summer triclinium to the right of the peristyle, there

were, according to Schefold, painted putti, little boys playing, Amor with quiver and floating

figures.103 The decoration was made on a white background. Only fragments showing vines

with putti harvesting grapes and little boys playing remain.104

In room 21, the exedra behind the peristyle, there are paintings representing Apollo and

Daphne, which Richardson attributes to the Iphigenia painter, an artist who also made the

similar decoration in Casa dei Dioscuri.105 When all rooms were redecorated, the decorations

of the First and Second styles were torn down and found fragmented, in pits in different areas,

during recent excavations.

Plasters and phases The plaster investigation usually starts by taking a microscopic sample from a decoration that

is supposed to represent the earliest phase within the building. In Casa di Marcus Lucretius

the procedure was different; some fragments of wall paintings found in trenches AA, BB, BC

and BD were the first to be sampled and studied. The question posed was if it would be

possible to determine to which styles these fragments belong. Only later, the walls in room 25

were sampled too. One question posed was if the plaster could be ascribed to the Third style

as sometimes has been suggested, or in the Fourth style.106

Results

5 fragments have plasters that belong to group A, subgroup Aa, indicating plasters used for

early First style decorations. As in most cases regarding the First style, there is a high-quality

plaster, well balanced, well mixed. It contains particles of different sizes, although most are

very small. The clean white lime contains only few lime lumps. In some case, a sample has

more lime, but the fillers are of the same kind; mainly small grains, angular and rounded and

with a lot of crystals.

2 fragments have plasters that belong to group B, used for late First style and early Second

style decorations. Most particles are rounded, there are few crystals and the average grain size

is large. The lime is clean, slightly beige, with lime lumps. There is a lack of small grains. 1

fragment has a plaster that belongs to group F, used for Third style decorations. The aggregate

is many-coloured and contains lots of crystals, mixed into clean white lime with some lumps.

The fragment fell apart due to decomposing lime. 4 fragments have plaster that belongs to

102Tammisto, Kuivalainen 2008, 89-99.

103Schefold 1957, 250.

104

Tammisto, Kuivalainen 2008, 100.105Richardson 2000, 130.

106Tammisto, Kuivalainen 2008, 80.



64

group G, indicating the Fourth style. All of the plasters in group G were frail. The lime was

unclean and the aggregate consisted of a variety of crushed materials.

The earliest plaster in room 25 belongs to group F. Both samples have the same kind of lime

and filler as the fragment in the same group, but the plaster in situ is in a better condition.

Two samples in the room have plasters of the last phase, group H. It is a paler type of reused

plaster, containing crushed materials in a relatively clean lime. In this case, the reused

materials seem to be a “Third style- plaster”, and the lime is of a mediocre quality. The

fragments belonged to decorations of the First, early Second, Third and Fourth styles. The

plasters sampled in situ corresponded with the fragments’ plasters of the Third style, and the

redecoration or repair was made in the Fourth style.

Fig.50. Casa di Marcus Lucretius. Room 25, west wall.



65

IX 3, 19-20 Casa e panificio di Papirius Sabinus

Fig.51. To the left: Room 112, west wall.

Fig.52. To the right. View from room 109 into room 112.

The objective of taking a few samples in two rooms was to see with which period the plasters

correspond.107 Decorations in the Third style were identified by Schefold. In room 19,

triclinium, there was a late 3rd style decoration representing Triptolemos and Ceres,

Prosperina and Terra, and at the east wall a painting of Bacchus and Ariadne.108

Results

Sampling was made in room 109 and 112. In both rooms, the first layer of plaster belongs to

group E and the last decoration to group H, indicating the rooms were decorated in the Third

and redecorated in the Fourth style.

The plaster in group E is made of clean white lime with filler of many-coloured large grains

and few crystals. There is, as always in this group, a lack of small grains. In room 112 the first

layer applied, the rough layer is slightly sandy but the next one is of a good quality, covered

with a 3 mm stucco layer. Plaster in group H is a typical reused plaster with the inclusion of

crushed materials. The aggregate has a variety of grain sizes but the lime seems to be of

mediocre quality, since the plaster is frail and falling apart. Plaster analyses confirms that

some decorations in the house were made in the Third style. In the two rooms sampled,

redecoration or repair was made in the Fourth style.

107

The investigation was made in collaboration with the Director, prof. Antero Tammisto, University of Helsinki. For documentation regarding samples Pap1-Pap5, see appendix.108

Schefold 1957, 251.



66

Insula V 1, plasters and phases: a study within the study

Introduction

When the present study was planned, a joint decision was made between me and Anne-Marie

Leander Touati, to integrate the vast plaster collection of the Swedish archaeological research

project into the present system.1 The objectives were defined: the already carefully studied

plaster samples in insula V 1 could be used to corroborate or falsify the bearing of my results

and, all samples might be assembled into one system, one common data base. Further, the

opportunity of testing the method in buildings all over the site was offered, and most of the

regions at Pompeii would be included in the study.

Plaster analysis was part of the Swedish program ever since the project started in 2000.2 As

responsible for the plaster analyses, I was instructed by restorer Reinhard Mayer Graft in the

method he had created within the German project Häuser in Pompeji. Casa degli Epigrammi

Greci was the object of study during the weeks we rapidly and carefully sampled most rooms

in the house in order to have a complete chronology before he left. Sampling and studies

continued in 2001 when conservator Carin Pettersson was my assistant. The following year,

in 2002, she took over the obligation for the Swedish plaster investigation. Therefore, it was

assumed, the basic principles of investigation would make possible this kind of joint study.

The fundamental conditions will be examined in the section Discussion and Conclusions. As I

had no personal experience of the excavations in insula V 1, the documentation presented as

annual plaster reports were handed over to me as guidance. The design of the Swedishdocumentation, handed over to me, is briefly described below.

The reports consist of two parts, Plaster analyses and Photo enclosure. Plaster Analyses

begins with a general introduction on the methods used, succeeded by descriptions of

reference samples found in the house. The earliest plaster is labeled Plaster type A, followed

by reference identification and the place where the plaster type was initially sampled. To give

an example, the earliest plaster in the Caupona belongs to group A, the reference is 12F5, it

was found in room d , north wall, h. 0.83, 0.06 from NW corner. The plaster is thoroughly

described under the following headings: Lime, Filler , and Overall impressions. In the

Caupona there are nine reference plasters plus two kinds of mortar. After the plaster

descriptions are Room descriptions, in which each wall and the relative chronology of plaster

layers observed are described, as well as an indication on the number of samples and the

tables (lists) in which the samples are registered. Next is a plan of the house with indications

1My gratitude goes to Margareta Staub Gierow who introduced me to the site of Pompeii and its history and for

the valuable comments that eventually led to this text; to Anne-Marie Leander Touati for fruitful discussions and

support. It was a pleasure to collaborate with Thomas Staub, and I was happy to discuss some problems in Casa

di Caecilius Iucundus with Renée Forsell and Arja Karivieri. Carin Pettersson made a great job with the

identification of the many plasters types in the vast plaster collection at insula V 1.2Plaster analysis was launched by field director Margareta Staub Gierow who was familiar with the method

from the German project Häuser in Pompeji.



67

of sampling spots using a colour code. Last is the List of reference samples. The list contains

information on where to find the sample (chest, container and box), where it was sampled

(room, wall, location) the order of layer, plaster description, plaster type and phase. The order

or layer is indicated as 1st, 2nd, or 3rd layer, small remain, or spoil. Plaster type and Phase

always have the same designation; Type A = Phase A, Type B = Phase B etc. Under the

heading Remarks are indications such as UP (under-plaster), FP (fine-plaster) FP red (fine-

plaster with red fine-plaster). In the Photo enclosure are photos of each wall with indications

of sampling spots.

A concordance table of plaster types/phases in the houses investigated was prepared by

Pettersson at the time the joint project started. This table has been useful because, although

the types/phases were organized in groups with the same labeling, these by and large, were

chronologically sorted according to “styles”.

The documentation described above and the reference samples constitute the basic material of

the present investigation. I have relied on the information handed over and my own

observations of samples made under the microscope. Therefore, the layout of sections that

describe each house in insula V 1 was made differently to the sections in the main part of the

study. The principle is that reports’ results are presented as an entrance to the description of

the house. Next are my reconstructions of the stratigrapies as these appear in the reports. Then

follows my results of the inspections of samples and the plasters are placed into groups, and

finally there is in each house, a concordance between the earlier and the present results, and a

concluding discussion on the results.A distinction between the earlier documentation and the present study is made in the

schedules too. Each schedule starts with the information available in the annual reports,

followed by my microscope observations. The plasters and contexts in the insula are

described house by house, beginning with Casa degli Epigrammi Greci, where I had first hand

knowledge of the context, and then in the order of house number, starting with V 1, 13 and

concluding with V 1, 26.3

The houses, rooms and walls are photographed and can be studied at the home-page of the

Swedish Pompeii Project, www.pompejiprojektet.se/insula.php

3

House V1 7 Casa del Torello and Taberna V 1, 24 are of course part of the insula but not part of thiscomparative study. Therefore they are presented in connection with the main investigation.

http://www.pompejiprojektet.se/insula.php






68

V 1, 18 Casa degli Epigrammi Greci

Fig.53. To the left: The peristyle towards room k .

Fig.54. To the right: Detail of painting, room y, east wall.

Casa degli Epigrammi Greci is composed of at least two original buildings maybe fused at the

time of the Roman colony when the house received its Second style decoration. 4 The house

probably incorporated part of a property in the north-east sector of the insula. There are some

areas with remains of First style plasterwork. A small section of a stucco cornice is preserved

at the top of the long wall in the peristyle, the boundary wall towards the north house of Casa

di Caecilius Iucundus V 1, 23. Mau already describes traces of a projecting string course and

some guttae, a part of a First style Doric frieze.5 Another relatively large fragment is visible

on the east wall of room m, where a piece of plaster was trapped behind the later constructed

south wall.

Presumably the house was decorated in the Second style, repaired with minor changes, and

redecorated in the Fourth.6 To the earlier period belong the decorations in the triclinium m and

the paintings with epigrams in room y facing the peristyle, both thoroughly described by Mau

and copied by Presuhn.7 Interesting for the topics of this study is Beyen’s description of the

building materials and in particular the rough walls of incertum rubble and coarse mortar of

triclinium m, commenting on the low quality of the mortar under the Second style decoration.8

4Staub Gierow 2005, 146; Beyen 1960, 200.

5Laidlaw 1985, 105; Mau 1900, 65.

6

Eschebach 1993, 125f; Strocka 2008, 306.7Beyen 1960, 204.

8Beyen 1960, 201.



69

To the Fourth style belong a number of decorations. In exedra o were paintings, attributed to

the so called Iphigenia Painter, showing Mars and Venus, Danae on Zefyros, and Ariadne

Abandoned, the later faintly visible and recorded on a drawing by Presuhn. 9 The peristyle had

a decoration, showing a silen and wild animals.10

Plasters and phases

Casa degli Epigrammi Greci is the house where restorer Reinhard Mayer-Graft instructed me

how to use his method to study and define plasters in Pompeii. In 2002 only minor changes

had been made in Mayer-Graft’s work; there were eight identified plaster types representing

phases within the Four Pompeian styles. Having first-hand experience of context and

sampling spots, I have chosen to exploit the documentation from 2001.11 Later investigations

performed by Carin Pettersson led to the addition of four new plaster types (12A8, 12A7,

12A1, 10F2).12

Sampling began along the south wall in room i, the peristyle, the boundary wall towards V 1,

23. The earliest plaster on the wall, and in the house, was type 1B2, group Aa, found at a

spolium in the wall, and partially covered by next phase, a small area of plaster type 1G11,

group Ab. Plaster type 1A12, group B, was found as the first layer at many areas of the wall,

indicating it might have been the first decoration phase on the wall, later covered by 1A13,

group F. The columns were initially plastered with type 1B8, group C, indicating Second

style, and later redecorated with plaster type 1C3, group G used at the very last days of

Pompeii. The red decoration at the west wall near the entrance to room m’ was made on plaster 1G8, group G. Room b, atrium provided plaster type 2C1, group E, where it covered

the earlier type 1A12, and in turn was covered by 1A13, group F. Repairs at the entrance to

the tablinum were made with type 1C3, group H. The fact that type 1B2 was a spolium and

1G11 only found at a very limited area was unsatisfactory and raised questions. 1B2 was later

found at several areas in the northeast sector of the house, previously part of the Caupona, but

1G11 was preserved only at a few places and at limited areas. All decorated walls in room y

have been restored and are therefore not possible to sample. Plaster type 1A12 was found at

one spot at the east wall, the boundary wall towards the street and as a spolium in the south

wall above the entrance. At the sampling areas in connection to the wall decoration was a late

plaster indicating a repair, presumably connected with modern restoration. Above room y is a

walled up window facing the street, in which are remains of plaster type 1B2, group Aa. The

same kind of plaster was identified at the façade outside room y.


10

Richardson 2000, 151.11The results of the present investigation are presented in the schedules in the appendix.

12C. Pettersson, Rapport Putsanalyser Epigrammi Greci, V 1, 18, 2002-2005.



70

Additional samples

Plaster types A2, A1 and A0, were later found at excavation of the peristyle. According to

Staub Gierow, a strip of plaster representing the oldest plaster type was found in the peristyle

just above the ground below the elevation made around 120 BC.13 The plaster belongs to a

decoration that presumably was made some time between 200 and 120 BC. In Pettersson’s

description, the “black and white plaster” labelled A0 was removed from a plaster layer at the

south wall roughly 40 cm below the present ground level. Further, a fragment with two plaster

layers was found in the garden, the upper of which was type 1B2 with hack-marks, and the

lower was type A0. Three spolia in the fountain base situated in the middle of the garden

provided two more samples of type A and the third a plaster labeled type A1.14 The first layer

on the wall south of the fountain base, that is the south wall of the peristyle, was type 1B2,

indicating there were early built structures in this area as well as in the north sector.

The new types occurred also in room x, previously part of the Caupona. On the west wall was

a plastered area consisting of three layers – a first layer of A2 covered by two layers of type

A. There were also spolia which provided types A0, A1 and A. The next decoration phase in

the room was represented by plaster type 1B8, connected with the Second style.

Results

According to my results, the early plaster types discussed above (A0, A1 and A2) belong to

group A, subgroup Aa, which is in fact a very early plaster and the dating fits perfectly with

plaster type 1B2 and other plasters in subgroup Aa. The minor variations between samplescan be explained as due to the plastering technique.

The distribution of plasters in the house shows that the earliest phase, represented by type

1B2, was associated to rooms in the north-eastern sector of the building and at the eastern

façade. The plaster type also appeared along the west wall of room m, trapped behind the later

constructed south wall. Type 1A12, linked to late First and early Second style decorations,

found at regular distances along the boundary wall towards the house of Caecilius Iucundus

was the plaster used for the original decoration of the peristyle wall. A general redecoration of

the house was made in the Third style (plaster types 2C1 and 1A13). Finally, most rooms

were redecorated or repaired in the Fourth style with plasters of type 1C3 and 1G8, both

belonging to the last period of Pompeii.

Two plaster types in this house, 1B2 and 1G11, have been analyzed at CNR/ICVBC in

Florence as part of my study with focus on early plasters. These were the first of the kind that

I became acquainted with, and therefore have been of great importance. The differences

between the plasters were obvious at ocular inspection. Laboratory analyses confirm these

belong to group A, subgroups Aa and Ab respectively.

13Staub Gierow 2008, 95.

14Pettersson, report 2005, 21.



71

All plasters, in this house are of good quality, well balanced and well mixed, except for 1A12,

which has large lime lumps, a characteristic common for plasters in group B. It was

interesting to see that Beyen made a note of the low quality of the mortar under the Second

style decoration in triclinium m.

Concordance tableC. Pettersson Plaster type A. Freccero

1st

style, type/phase A2 12A8 Group A (Aa)

1st


1st


1st

style, type/phase A 1B2 Group A (Aa)

1st

style, type/phase B 1G11 Group A (Ab)

2nd

style, type/phase C 1A12 Group B

2n

style, type/phase D 1B8 Group C

2nd

style, type/phase D2 10F2 Group C

3

rd

style, type/phase E 2C1 Group Ethstyle or late 3

rdstyle, type/phase F 1A13 Group F

thstyle after 62, type/phase G 1C3

tstyle after 62, type/phase H 1G8 Group G

1C3 Group H

Fig 55. Room y, east wall. Detail of the decoration with remains of a Greek epigram.



72

V 1, 13 Caupona

Stratigraphies according to documentation

Room a Room b Room d,e Room d Room e Room e Room e

----12G2 -----12E7 ----12D5 -----12D2 -----12D2 -----12D2 ---12E7----12D5 -----12D5 ----12F5 ----12F12 -----12E7 -----12D5 ---12D5

----12D5 -----12D5 -----12F5 ---12F5 -----12F5

Façade

---13D1---12F5

The Caupona is considered to have some of the most ancient structures in the insula.15 The

north-west part of the building with walls in opus quadratum and opus africanum, is older

than the 2nd century BC. Originally the house extended further into the south-east, a space that

was later occupied by Casa degli Epigrammi Greci. 16

Plasters and phases

The reference samples were observed under the microscope and compared to relevant samples

from insula V1 and other buildings at the site. Below they are placed into the groups of the

present system.17

Group A: 12D5, 12F5, 12G11, 12G8, 13D1.

Group E: 12E7, 12G2.

Group G: 12D2, 12F12.

Plaster types 12F5 and 12D5 appear in stratigraphy in room c, d , and e, 12D5 in all cases as

the second layer. These layers represent a plastering technique and therefore belong to the

same group.18

Room f is particular and a discussion is required. Four different plaster types of the early

period were found in the room and at its façade. At the north and east walls were areas of

15Leander-Touati 2008, 122f.

16Leander-Touati, 2010, 113.

17To keep samples together in the database, the label Cau, indicating Caupona, was used, e.g. sample 12D5 is

there named Cau 12D518The schedules are presented in the Appendix, arranged in chronological order starting with plasters in group

A.

12F5 - A

13D1 - B12D5 - C

12G8 - D12G11 - E

12G2 - F

12E7 - G

12F12 - H

12D2 - I

Plaster types/phases as presented in C. Pettersson, Rapport. Putsanalyser. Caupona V 1, 13,

Pompeji 2006, Stockholms Universitet, Svenska Institutet i Rom.

Nine plaster types were identified in the Caupona. Each type is represented by a referencesample, labeled A-I, where A represents the earliest and I the latest.

Eight stratigraphic variations were found. Two plaster types, 12G8 and 12G11, appear as single

layers.



73

plaster type 12F5, indicating it was remnants of the original decoration. Remains of the same

kind of plaster were found behind the hearth and as spolia in the south wall. Plaster type

12G11, was sampled only at one area in the room, on the north wall trapped behind the east

wall. As the east wall was decorated with type 12F5, plaster 12G11 could not be later; it must

belong to the same period or to an earlier phase. Therefore it seems odd to designate the

plaster to a later period, type/phase E. Yet another plaster type, 13D1, described as “1B2

surplus lime” was found at the east wall, where it was mentioned as “going behind the wall

structure”.19 On the plan the “wall structure” rather seems to be some kind of construction at

the east wall.20 Further, two plaster types were found at the façade, that is, the exterior side of

the north wall in room f . One was a stratigraphy of 12F5 and 13D1 explained as “goes into

the wall, on f -side”. On the plan it is indicated as found on the other side of the wall, not

towards room f , but towards room x in Casa degli Epigrammi Greci. Plaster type 12G8 was

found at a “layer that goes into the wall” at the façade outside room f , further west along the

street, apparently in a walled up former entrance to the house.

All the plasters noted in room f have fine-grained filler with rounded and angular grains,

many of which are black, brown, grey, and a few pale yellow or ochre, plus many black

crystals and a relatively beige lime. 12F5, 12D5, 12G11 are very similar, and belong to the

same group. They have characteristics of group 0 as well as group Aa. 13D1 is similar too,

but has more lime which gives another impression. In my opinion, 13D1 is the top layer of

12F5. The plaster samples belong to the same decoration period.

In room d , a plaster of type 12D5 was the earliest phase, found at the north wall. It wascovered by a hacked layer, type 12F12, which in turn was sealed behind the last plaster type,

12D2 (group G), used for the final redecoration of the room. The indentations on layer 12F12

indicate it was a decoration layer, most probably related to 12D5. 12D5 is very similar to the

early plasters mentioned above and in particular to group 0 plasters in Casa delle Amazzoni.

On the other hand, brown, fine-grained plasters also occur in group G, and with no firsthand

information on the context, and no other samples branded the same way, it is difficult to say

whether this plaster belongs to group 0 or group G. Microscope studies of other samples

named 12D5 and 12F12, or laboratory analyses would provide an answer.

Plasters of type 12G2 and 12E7 were found at the west sector of the building, towards the

shop area and Via di Vesuvio. These belong to group E, used in the Third style.

19Sample EG 1B2 refers to the earliest phase in Casa degli Epigrammi Greci and it belongs to group A,

subgroup Aa. “Surplus lime” indicates the plaster has a higher percentage of lime than the average EG 1B2.

Much lime usually indicates the last plaster layer, sometimes functioning as the preparation for painting but is

usually the ultimate layer before stucco was applied.20For whom has not studied the sampling area, the photo of the sampling spot does not resolve the question

whether this is a construction at the wall or a remnant of a wall.



74

Results

There are minor variations among the early plasters, some of which might belong either to

group 0 or group A, subgroup Aa. The only ways of attributing these plasters with certainty to

one of the groups would be by the correlation of plasters and wall structures and by laboratory

analyses. In this house, the total absence of communication combined with the lack of

laboratory research, excludes a precise identification of these plasters – however, they belong

to the very early period.

To sum up, there are remnants of the original decoration in all rooms and at the façade.

During the period of the Third style, the rooms at the front part of the house were redecorated.

Plasters related to the Fourth style were used for redecoration and repair in room a and in

other rooms during the late period after the earthquake in AD 62. The early plasters, although

beige, are of a good quality, well composed and mixed. So are the brown plasters 12F12 and

12D2. Those in group E contain many lime lumps.


1st

style, type/phase A 12F5 Group A (Aa)

1st

style, type/phase B 13D1 Group A (Ab)

2nd

style, type/phase C 12D5 Group A (Aa)

12G11 Group A (Aa)

2n

style, type/phase D 12G8 Group A (Ab)

2nd

or 3rd

style, type/phase E 12G11

3rd

style, type/phase F 12G2 Group E

4th

style, type/phase G 12E7 Group E4

thstyle after 62, type/phase H 12F12 Group G (?) (Aa?)

4t

style after 62, type/phase I 12D2 Group G

Fig 56. Caupona, room a, detail.



77

V 1, 20-21 Taberna

8H8 - A

8H4 - B

9A1 - C8H13 - D

9A6 - E

8K3 - F

8H1 - G

Plaster types/phases as presented in C. Pettersson, Rapport. Putsanalyser. Taberna 20-21,

Pompeji 2003, Svenska Institutet i Rom.

Seven plaster types were identified in the Taberna. Each type is represented by a reference

sample. The reference samples were labeled A-G, where A represents the earliest type/phase

and G the latest.

Four plaster types appear in three stratigraphic variations, as illustrated below.

Three plaster types, 8H4, 8H1, 9A6, appear as single layers.


Room f room d room e

-----8H13 -----8K3 -----8K3

------9A1 -----8H8 -----9A1

Plasters and phases

The reference samples were observed under the microscope and compared to relevant samples

within insula V1 and from other buildings at the site.29 Below they are placed into the groups

of the present system.30

Group A: 8H4 and 8H8.

Group D: 9A1.

Group E: 8H13and 8K3.Group G: 8H1.

Group H: 9A6.

Results

Plaster type 8H4 and 8H8, were found as first layers on the same walls in room a and b. They

do not appear in chronological relation. The plasters belong to group A, subgroup Aa. This

plaster type was found as small remains on most walls in the building. 8H8 appeared in

stratigraphy at one area in room d , where it was covered by type 8K3 which belongs to group

E. Room e and f were contemporaneously decorated with a plaster that is connected with theearly Third style, type 9A1, group D. This phase was either covered with plaster type 8H13,

often with preserved paint layer, or by plaster type 8K3; both plaster types belong to group E.

At the very end, the large shop area, room a, was redecorated in the Fourth style on plaster

type 8H1.

29

The schedules presented in the Appendix have been arranged in chronological order starting with plasters ingroup A.30

In the database, the label Tab, indicating Taberna, has been used, e.g. sample 8H8 became Tab 8H8.



78

To conclude, there were few decoration periods in this house. After the initial First style

decoration some rooms were redecorated in the Third style (groups D, E) and finally there

were redecorations in the Fourth style in the late period of Pompeii.

The plasters in this house are generally of inferior standard, all with lime lumps.


1st

style, type/phase A 8H8 Group A (Aa)

1st

style, type/phase B 8H4 Group A (Aa)

9A1 Group D

3rd

style, type/phase E 8K3 Group E

3r

or early 4t

style, type/phase C 9A1

3r

or early 4t

style, type/phase F 8H13 Group E

4th

style after 62, type/phase D 9A6

4th style, after 62, type/phase G 8H1 Group G9A6 Group H

Fig.57. Taberna 20-21 at Via Vesuvio.



79

V 1, 23 Casa di Caecilius Iucundus, North House


Rooms a, f , h, q room b room g room h’

Tab.22, tab. 24a --------4D4 -----4D8 ----4D3 -----4D4-------4E13 -----4D1 ----4D1 -----4D1

Room i room i, tab.24b rooms k , p room q

-------4D4 -----4D3 ------4D4 -----4G1-------4D3 ----4E13 ------4D3 -----4E13------4E13

The two properties that constitute the large domus of Caecilius Iucundus, situated along Via

Vesuvio in the central section of insula V 1, were contemporaneously built, the rubble walls

indicating at a later date than Casa del Torello.31 The North House probably was annexed in

the Iulio-Claudian period, when the building received its Third style decoration. It has been

suggested that the atrium was decorated in the Third style contemporaneously with the atrium

in V 1 26.32

Plasters and phases

The reference samples were observed under the microscope and compared to samples within

insula V1 and from other buildings at the site. 33 These are now placed into groups according

to the present system.34

Group 0: 5K1.

Group A: 4D1, 4D8, 13C10.

Group B: 4E13.

Group D: 4G5.

Group F: 4D3, 4D4.

Group H: 4G1, 8A1.

31Leander-Touati 2010, 111.

32Karivieri 2005, 150.

33

The schedules are presented in the appendix, arranged in chronological order starting with group A.34In the database, the label CaeN, indicating Caecilius Iucundus North house, was used, e.g. sample 4D1 became

CaeN 4D1.

13C10 -

A0

4D1 - A

4D8 - B5K1 - C

4E13 - D

4G5 - E

4D3 - F

4D4 - G4G1 - H

8A1 - I

Plaster types/phases as presented in C. Pettersson, Rapport. Putsanalyser. Annexet V 1, 23,

Pompeji 2002-2006, Stockholms Universitet, Svenska Institutet i Rom.

Ten plaster types were identified in the North House of Caecilius Iucundus. Each type isrepresented by a reference sample. The reference samples were labeled A0-I, where A0

represents the earliest type/phase and I the latest.

Six plaster types appear in eight different stratigraphies, as illustrated below.

Four plaster types, 13C10, 5K1, 4G5 and 8A1, appear as single layers.



80

Ambiguities regarding the correlation between some wall structures in corridor d’ and the

plaster types 13C10, 4D4 and 5K1 has been given a particular interest.

Plaster 13C10 was found in room d’ , a corridor dated to the fusion of South and North Houses

of Caecilius Iucundus.35 Citing Karivieri and Forsell, “At the floor level of the doorway,

remains of the earlier wall plaster was found where the entrance had been cut through an

earlier coating; the wall plaster can be placed among the plasters of the early second style in

the relative chronology within our insula”. The plaster type discussed is 4E13 which is

connected with the First and early Second style. Then, “…in the centre of the trench, ca 20 cm

below the level of the doorway, we found remains of a cocciopesto floor which continued in

under the east wall of the corridor.” As far as I can understand, the floor continued into room

f , and it apparently was destroyed when the corridor was rebuilt. On the colour coded plan,

plaster type 4E13 is noted in room f too, indicating it was decorated in the Second style at the

same time as the corridor.

At the northern part of corridor d ’ is indicated remnants of an earlier plaster type, 4D1, which

belongs to group A, First style. The lower part of the west wall in the corridor was built

“…with spolia, bricks, reused stones and rubble. It was founded on a pre-existing wall with

remains of wall- plaster…” which was regarded as “…of an earlier date than any other in the

house-complex, that is, earlier than first-style decorations in our insula.”36 The corridor’s west

wall was in fact built upon an earlier wall in exactly the same position.37 The plaster type

found at this early wall, 13C10, was in close connection to 4D1. Sample 13C10 consists of

two layers, the inferior of which is of type 4D1, the top layer type 4D8. Wall plasters 4D1,4D8, and 13C10 belong to the same group, Ab. As a consequence, there are two early periods

in the corridor; plasters in group A (4D1, 13C10, 4D8), and group B (4E13).

An additional problem in corridor d’ regards plaster type 4D4 which was applied on the walls

at the time the perimeter wall was cut to create access between the two houses. This plaster

was not indicated on the Colour coded plan, not in the List of reference samples or in the

Room description.38 But in the List of Examined Plaster samples, plaster 4D4, type/phase G, a

reused plaster, (dated post 62) was registered at one area on the wall-remnants, below floor

level, at the entrance to Caecilius Iucundus V 1, 26.

Reference sample 4D4 has dubious characteristics and might be placed in group E, F or group

G, as explained in the schedule. Based on my own observations under the microscope, on

Pettersson’s documentation, and the fact that there were no notes of ambiguities or any

objections to placing the sample among reused plasters post 62, I placed the sample in group

G.39 Intense discussion on the matter and convincing archaeological evidence, made it

35Karivieri, Forsell 2008, 103-108.

36Karivieri, Forsell 2008, 103.

37Leander Touati 2008, 122f.

38

Pettersson report 2002-2006.39Plaster type 4D4 is significant in areas linked to the union of the two houses, such as the access between the

houses through corridor l’ , constructed at the same time as the entrance discussed above. The problem was that



81

necessary to reconsider the situation, and to do some last-minute observations of nine

additional samples from particularly important areas in the house of Caecilius Iucundus.

As a result of these additional observations, regarding plasters below floor levels in corridors

d’ and l’ , wall plasters in the corridors and in rooms f , k , and b, show that the plasters below

floor level in the openings cut through the perimeter wall between the houses are of the same

type as 4E13 and belong to group B, that is, were made in the Second style. The problematic

plaster type 4D4 is a “dirty” variation of plaster type 4D3, which belongs group F, used for

Third and early Fourth style decoration.40 All samples observed except one have beige lime,

which together with the many small particles, might explain why they were placed in group

G.

The problem of reference sample 5K1 is different. It has all characteristics of early plasters; a

beige-brown appearance due to many very small size particles, but with filler that resembles

plasters in group Aa too. I considered plaster type 5K1 as either belonging to group 0 (zero)

or to group A, subgroup Aa, but in the report it had been considered a later plaster. There

were obscurities. When plaster type 5K1 was named, it had already been found at areas in the

north-east part of the complex, in rooms q and m, and after being labeled in room p it

occurred in room l , seemingly always as a spolium, on an ashlar or trapped between the

original wall structure and a later phase. The reason the plaster was labeled late was,

according to Pettersson, that it was different from other plaster, and to begin with, she did not

know how to label it. This kind of plaster became group 0 to me after seeing several of the

kind, always at indisputably early structures.Could such an early plaster exist in this part of the double-house of Caecilius Iucundus? The

house was built later than Casa del Torello in the south and the Caupona at the north sector of

the insula, according to studies of boundary walls.41 But, might there perhaps be some

remains of an earlier building in the north area? The question was posed to archaeologists

Arja Karivieri and Reneé Forsell. According to Forsell and Karivieri the walls where type

5K1 was found definitely belong to the oldest in the complex.42 It is therefore reasonable to

assume plaster type 5K1 belongs to the plasters in group 0.

A new problem occurred; the atrium b and tablinum e were presumed to be decorated, not

later than the mid-first century AD, with Third style paintings.43 According to Pettersson’s

plaster study, the last decoration of the atrium and tablinum was made on the above discussed

4D4, found below the floor level in corridor l’ , was considered to be later than the plaster used for the later wall

decorations, for which type 4D3 had been used. Another contradiction, in the report, 4D4 was noted as applied

on top of 4D3 in some rooms.40

The nine samples are not scheduled because at the time of observation the study was concluded and the layout

set. Samples 4I11, 11E2, 11E3 belong to group B. Sample 11E1 has characteristics of group A and B. Samples

5A12, 5B12, 4E1, 4K6 are of the same kind as 4D4. 4K7 has the same kind of filler but white lime and therefore

resembles 4D3.41

Leander-Touati 2008, 117ff.42Forsell, Karivieri, e-mail 2011-12-23.

43Karivieri 2005, 150.



82

plaster type 4D4, described as a plaster with lots of reused material, such as crushed brick,

ceramics and ground plaster. As mentioned above, the reference sample 4D4 has unclear

characteristics that point to group E and F (many-coloured filler) and plasters in of group G

(many small particles, dirty appearance). There are, however, no traces of crushed materials in

any of the samples studied; it is just a dark plaster, not a clean and well-made product.

Another mystery is type 4G1, indicated as later than 4D4 in the report, but later transferred to

a position among Third style plasters. In my opinion, the plaster belongs to group H.

Fig.58. Plan of the double house of Caecilius Iucundus. Drawing : Ezequil Pinto-Guillaume.



83

Results

Sample 5K1 was problematic because it mainly consists of grains and hardly has any lime at

all. In addition, it was wet by some product. To solve the problem, a few samples indicated as

type 5K1 were checked, e.g. 5I3, 5I7 and 5I9. Those were all similar, a brown plaster with

very fine-grained filler, resembling the earliest phase in Casa del Centauro CC5, and type

CA1, the earliest phase in Casa delle Amazzoni. This plaster type belongs to group 0.

Samples 4D1, 4D8, and 13C10, belong to group A. 4D8 which contains more lime is the top

layer of 4D1. 4E13 has characteristics of group A, B and E. Some larger beige and brown

grains, plus the archaeological statement that this plaster represents the early second style are

the main reasons for choosing group B, a group established at last minute observations of

other samples with this label. 4G5 has quite a specific kind of filler, consisting of mainly very

small sized crystals, typical only of group D. Sample 4D4 has characteristics of plasters in

group F (many colours, small grains), but also of groups G and H (“dirty” appearance).

Observations of additional samples made it possible to attribute this relatively dark plaster

type to group F, used for late Third and early Fourth style decoration. Plaster type 4D3 has the

same kind of filler but clean white lime and belongs to the same group. 4G1 and 8A1 belong

to a group of very late plasters.

To conclude, there are remains of plasters connected with the so called “stile zero”. The First

style and the early Second style are represented in most areas of the building. Re-decoration

of many rooms was to done in the period when the Third and early Fourth style was in vogue.

Some interventions were made during the late period of Pompeii. Most plasters are of goodquality, well composed and well mixed. The problematic ones are of lower quality. Many

problems and a lot of work would have been avoided if documentation had been more

accurate, inconsistences noted and problems discussed.

Concordance tableC. Pettersson Plaster Type A. Freccero

5K1 Group 0

First style, type/phase A0 13C10 Group A

First style, type/phase A 4D1 Group A

First style, type/phase B 4D8 Group AFirst or Second style, type/phase C 5K1

Second style, type/phase D 4E13 Group B

Third style, type/phase E 4G5 Group D

Third or early Fourth style, type/phase F 4D3 Group F

Fourth style after 62, type/phase G 4D4 Group F

Fourth style, type/phase H (moved to 3rd style) 4G1 Group H

Fourth Style, type/phase I 8A1 Group H



84

V 1, 26 Casa di Caecilius Iucundus, South house


Room f, g, n Rooms l , t Room l Room l Room u Room t

-------9E6 -------11B1 -------11B1 ----11B1 -----11C9 ---11B1-----11C9 --------9E6 -----10H11 ------9E6 -----9D12 ---11C9

----9D12

Rooms q, r Room d Taberna 25 taberna 25 taberna 27--------9E6 ----11B1 -----9E6 ----10K8 ----12K2

------9D12 ------9D5 -----9D5 -----9D5 ----11C9

The large domus of the financier Caecilius Iucundus was richly decorated with marbles,

fountains, and impressive paintings dated to the Iulio-Claudian period and the Third style. 44

Most striking was the reception area towards Via Vesuvio. Renowned and often cited is theThird style decoration in tablinum i, datable to the Claudian or the Neronian period.45 Mau

refers to the decoration as maybe not the most beautiful but certainly a striking example on

the Third style.46 Richardson attributes the two central pictures with mythological motifs,

showing Iphigenia in Taurus and the Return of the corpse of Hector (?), to a third style artist

called the Cecilio Giocondo painter.47 The same artist, with a highly individual style, painted

the busts of satyrs and maenads and a maenad carrying an amorino. Contemporary with

tablinum i are the paintings in the adjacent corridor k .48

To the Forth style belong most decorations in this large house. Frequently mentioned is

triclinium o, north of the peristyle, decorated with mythological motifs. Above the socle with

festoons were popular motifs such as Theseus leaving Ariadne, mythological animals such as

griffons, sphinxes, centaurs, as well as masks and garlands, and a series of medallions with

portraits of female that Schefold thought might be priestesses.49 The medallions were,

according to Richardson, painted by the local artist today known as the Adone Ferito

44Leander-Touati 2010, 124.

45Schefold 1957, 66; Ehrhardt 1987, 101ff.; PPP II, 19; Strocka 2007, 307, 315.

46Mau 1900, 346.

47

Richardson 2000, 55.48Schefold 1957, 66.

49Schefold 1957, 67.

9D5 - A

9D6 - B

9D12 - C

10H11 - D11C9 - E

10K1 - F

11I7 - G9E6 - H

11B1 - I

10K8 - K

12K2 - L

Plaster types/phases as presented in C. Pettersson, Rapport. Putsanalyser. Caecilius Iucundus V

1, 26. Pompeji 2005. Svenska Institutet i Rom, Stockholms Universitet).

Eleven plaster types were identified in the South house of Caecilius Iucundus. Each type isrepresented by a reference sample. The reference samples were labeled A-L, where A represents

the earliest and L the latest. Also a hydraulic mortar, sample 12K3, was registered as plaster

type 1. It appeared as the first layer in taberna 25.

Eight plaster types were found in eleven stratigraphic variations as illustrated below.

Two plaster types, 11I7 and 9D6 appear as single layers.



85

painter.50 An erotic symplegma in the peristyle was attributed to the Iphigenia painter, an

artist that made several paintings of the kind, among these three in the Casa del Centenario

and one in Casa del Bell’Impluvio.51 Room t , at the south end of the east portico was

decorated with paintings attributed to the Marco Lucretio painter.52 Themes in the room were

Hermaphroditos, Silenus, Mars and Venus.

Room d is the only room in the building that, at the upper zone, has preserved a substantial

part of its First style decoration, below which is a decoration in the Fourth style.53

According to documentation, rooms f, g, l, n, all have remains of First style plaster and were

later redecorated in the Third style.54 Ehrhardt mentions the decoration in the oecus l , the

present room u, where there are remains of Third style paintings.55 The room, situated to the

right of the tablinum, has a decoration which he regards similar to the triclinium decorations

in Casa del Bell’Impluvio and Casa del Frutteto.56 Based on stylistic analyses he dates those

in Casa del Bell’Impliuvio as the earlier, and maybe the model for the pictorial scheme in

room u in this house.57 A redecoration in the Third style was recognized in the PPP.58

Plasters and phases

Eleven reference samples were observed under the microscope and compared to samples

within insula V1 as well as from other buildings at the site.59 The samples are placed into

groups according to the present system.60

Group A: 9D5, 9D6, 9D12.

Group D: 11I7.Group E: 10H11, 11C9.

Group F: 9E6, 10K1, 11B1.

Group H: 10K8, 12K2.


51Richardson 2000, 240f.


53Laidlaw 1985, 105; PPP II, 18; Karivieri 2005, 150.

54Pettersson, report 2006.

55Forsell, personal communication, email 2012-03-05.

56Ehrhardt 1987, 103.

57Ehrhardt 1987, 139.

58PPP II, 18.

59

In the database, the label CaeS, indicating Caecilius Iucundus South house, was used, e.g. sample 9D5 becameCaeS 9D5.60

The schedules presented in the appendix are arranged in chronological order starting with group A.



86

Results

The earliest plaster in the house, 9D5, was used for the cornice in room d . The lower part of

the room was redecorated with plaster type 11B1, group F, used for decorations in the Third

style and the early phase of the Fourth. Plasters of this kind were used in the Edifice of

Eumachia, for decoration of the tablinum in Casa del Bell’Impluvio and the triclinium of Casa

del Frutteto.

The plaster used in room l belongs to group F too. Ehrhardts observation that the black

triclinium in Casa del Bell’Impluvio may be earlier than the b lack triclinium in Casa del

Frutteto and room u in this house, is supported by plaster analyses; the triclinum plaster in

Casa del Bell’Impluvio belongs to group D, which is earlier in the relative chronology of that

house in which the tablinum decoration was made on plaster in group F, just as the triclinium

in Casa del Frutteto. The plasters identified in room t belong to group E, connected with the

Third style and F, used for late Third and early Fourth style. In room u there were plasters

only related to the First and the Third styles.

In tablinum i stylistic analyses correspond with the result of the plaster analyses; the

decoration was made on plaster type 10K1, group F, late Third/early Fourth style. Plaster

analyses further confirms that triclinium o and the flanking rooms were decorated in the

Fourth style.

To sum up, there are remnants of the original First style decoration in many rooms. An

extensive redecoration was made in the Third style and maybe in the early Fourth, as shown

by plasters in groups D, E, and F. Finally some redecoration and repair was made during thelater period of the Fourth style. The quality of the plasters examined show that the earliest

period and those in group D and F are of a good quality with few lime lumps, well composed

and well mixed. Plaster in group E and H have a bit too much lime and many lime lumps.

Concordance table

C. Pettersson Plaster type A. Freccero

1st

style, type/phase A 9D5 Group A

1st style, type/phase B 9D6 Group A

2nd

style, type/phase C 9D12 Group A

11I7 Group D

2n

style type/phase D 10H11 Group E

3rd

style, type/phase E 11C9 Group E

3rd

style, type/phase F 10K1 Group F

3rd

or early 4th

style, type/phase G 11I7

4th

or late 3rd

style, type/phase H 9E6 Group F

4t

style?, type/phase I 11B1 Group F

4th

style after 62, type/phase K 10K8 Group H

4th

style after 62, type/phase L 12K2 Group H



87

Fig.59. Casa di Caecilius Iucundus, painting in the tablinum.



88

DISCUSSION AND CONCLUSIONS

The main objective for undertaking this study was to determine if it would be possible to

establish a relative chronology for decoration plasters valid from the archaic period to the last

days of Pompeii. A second motif was to understand if plaster analyses could be used as a

complementary tool for the dating of decoration layers even when the paintings have

vanished. In that case, a reference system would be needed to make it possible to use the

method for research in any building over the site. In addition, it would also be interesting to

know if the quality of craftsmanship was linked to a period in time or to workshops, and if the

plasters’ quality or the plastering technique has had importance for the preservation of

decorations, knowledge that might be used for choice of conservation substances and for the

preservation of excavated wall paintings. The questions posed will be treated in the order

presented above. Problems connected with method and the identification of samples will bediscussed and, finally, some suggestions on how to plan and use plaster investigations,

followed by the conclusions.

Most houses in this investigation are traditional atrium houses built in the period between the

2nd and the 1st centuries B.C, some even earlier. Some houses have intact structures of opus

quadratum and opus africanum and all have been rebuilt in later periods, as exposed on walls

in the different materials and techniques that were used. Houses in Regio VI and VII have

been excavated to the level of earlier construction periods, revealing walls of the so called

protocase, modest sized buildings with gardens of which there are substantial traces below the

standing structures visible today. Remains of older buildings have been found at excavations

of 3rd century destruction levels underneath the Temple of Venus too. Early structures in these

areas are generally dated to the 4th and 3rd centuries BC.

The houses in which sampling has been made are large or medium size private dwellings,

some of which have been enlarged while other remained relatively unchanged through

centuries. Connected to most houses are workshops, bars or other commercial spaces. A few

minor houses with workshops have been sampled as well. Therefore, large and significant

houses, modest ones and workshops are included in the study, providing a spectrum of

environments and material of different qualities. Missing in the present study are important

public buildings such as those around the Forum, buildings that were part of my previous

study. These buildings and the beautifully decorated houses in insula I 9, are registered in the

separate database.

The first questions to be answered were: Is it possible to establish a correlation between a

specific type of plaster and a specific period in time? Is a link between typology and

chronology valid within a single house or applicable to houses within the area of Pompeii?



89

The first answer is yes, there is evidence plaster types are linked to specific periods in time. It

would, however, be a mistake to believe there is an absolute date for when one kind of plaster

was invented and when it was out of date: it is not possible to ascribe a plaster type to one

year and to exclude it from the next. Most probably there were some progressive persons who

were the first to adopt a new style while others preferred what they were accustomed to.

Therefore the painter chosen for an innovative decoration might work on the same kind of

plaster as contemporaneously used for traditional painting next door. A similar condition is

reasonable to assume in a plasterers’ or painters’ workshop; the plastering technique might be

developed or changed while the available components of the plaster were used until the

supply was finished, independently on style in vogue. Keeping such grey zones’ in mind, the

results regarding plasters, phases and styles will be discussed. Dating is approximate, and in

all cases based on archaeological or art historical interpretations or evidence.

Plasters, phases and styles

In 2005 some odd plasters turned up at early structures below the Temple of Venus, in Casa

del Centauro and Casa del Granduca Michele. They were not identical, but seemed to

represent phases prior to the refined plasters that are distinctive of the First style. The plasters

were of good quality but grey, beige or brown, which made me think it might be inclusions of

earth or clay in the lime. Laboratory analyses have shown the dark appearance was generally

not due to the presence of clay or earth, but caused by a large amount of very small size

particles in the filler. Laboratory analyses confirm these plasters belong to a separate group.

Since the plasters are found at levels chronologically earlier than the First style, another group

of plasters has been added, group 0, after Brun’s definition of stile zero. At the end of the

previous research period, there were indications of two kinds of plasters in group A, and that

these might be chronologically related. The present study has shown the group can be divided

into subgroups Aa and Ab.

Plasters used for Style Zero and First style decoration can be divided into three different

groups; 0, A and B. Group 0 contains plasters of the earliest period, stile zero, group A

contains plasters of the First style and group B plasters related to the late First and the early

Second style. There is a clear difference between these groups, which appear in chronological

order and therefore represent periods in time. The characteristics are as follows:

Group 0 contains plasters that are dark. The plaster is not dirty from soil, but its dark colour -

brown, beige or beige-grey - depends on the many very small size components in the filler.

Only occasionally there are inclusions of minor amounts of clay, mixed into the plaster.

Plasters in group 0 have been identified at the earliest levels in houses in region VI and VII, at

3rd century destruction levels below the Temple of Venus and at fragments of wall paintings

such as the fragment with a painted wave pattern, a onda, found during excavation of Casa

del Centauro.



90

Group A contains plasters used for First style decoration. The plasters have a “black and

white” appearance, due to the many black particles and the white lime, with few and small if

any lime lumps. The filler of predominantly small grains contains a lot of crystals. Main part

of the particles is black, fragments of volcanic rock and pyroxenes. Group A has been divided

into sub-groups Aa and Ab. The main difference is the filler, which in group Aa is composed

of rounded and irregular black grains, more brown particles, and a larger amount of coloured

crystals than found in subgroup Ab, in which the filler almost exclusively consists of angular

and irregular black particles, many of which are long, black, broken crystals. The average

grain size of Ab is larger, due to the minor quantity of very small particles and the addition of

a few grains of larger size. Both plasters are well mixed and of a high quality, mostly still

hard. Stucco layers often have a thickness around 3-5 mm and occasionally, in important

spaces, 7-8 mm.

There is a relation between plasters in group 0, Aa and Ab. All have small grains and arecarefully made. There are few signs of shrinkage. Plasters in group 0 are dark because of the

great amount of very small particles. Plasters in group Aa have a similar kind of filler but not

the microscopic particles that make the plaster look dark. Therefore, a “dirty” sample of group

Aa may resemble a clean one in group 0. On the other hand, if a sample in group Aa has many

broken black crystals it might resemble those in group Ab. There is no similarity between

plasters in group 0 and Ab. As a principle, there are distinctive groups of early plasters with

clear characteristics that make possible a designation to one of the groups mentioned above.

In case there is some doubt archaeological, chronological, or stylistic aspects may offer

information that finally places the plaster into a group.

Group B contains plasters that belong to the later phase of the First style and the early Second

style as well. This kind of plaster has filler with large grains and a serious lack of small ones,

a composition that often leads to fissures and voids, or “airbags”, thereby making the plaster

frail. It is a “black and white” plaster too, with many black, grey and pale grey particles, but,

contrary to the earlier plasters, very few crystals. In general there is no problem to recognize a

plaster of group B; the many large grains are indicative.

Group C contains plasters used for Second style decoration. The plaster has filler of very

small grains and a few of medium size. It has many brown particles that give a warm

impression, and the lime is clean, white or slightly beige with few if any lime lumps. These

plasters are well composed and of high quality. Although they might slightly resemble other

small-grained plasters such as group Aa, D, and F, the ones in group C cannot, at closer

inspection, be confused with other plaster types.

Group D contains a particular, very fine-grained plaster of which the filler mainly consists of

crystals and few grains of volcanic material in only little lime, a combination which makes the

plaster look very dark. It is not a common plaster type, in fact, this kind of plaster has only



91

been found in a few cases. It only resembles some top layers that sometimes occur at

decorations in prominent buildings, in which the main component is crystalline but then the

percentage of lime is high, which gives quite a different impression. There is no possibility to

confound plasters in group D with any other plaster.

Group E contains plasters used for Third style decoration in many private houses and public

buildings investigated. This is, together with group B, the only group with large-grained filler

and, due to the lack of small grains the samples often present fissures and voids or “airbags”.

The lime is generally clean and white, often with relatively large lime lumps. The filler is

composed of grains of a great variety of colours such as black, grey, beige, brown, ochre,

some of which are very large and shaped as beans. There are few crystals. A sample might be

not representative because there are few bright grains or if the layer is weathered and grains

have fallen. In such a case the plaster may resemble group B and E as well. In such a case, the

question is generally solved by a second sample that may contain particles of the missingtype.

Group F contains plasters used for Third and early Fourth style decoration. It is composed of

filler with many colours and lots of crystals mixed into clean white lime which often has few

small lime lumps. This kaleidoscopic plaster often is of very good quality. It has a

combination of large and small grains, which together with the many crystals separates it from

plasters in group E.

Group G contains plasters used for Fourth style decoration. These are dark plasters which

receive their colour of the many very small grains of angular shape and often reused

materials. Plasters of this kind are well composed with large and small grains but there are

many lime lumps as well, which makes it of inferior quality. If there is a stucco layer it is

generally thin and often contains cocciopesto.

Group H contains plasters used for repairs after the earthquake in AD 62. These plasters

contain reused materials of many kinds such as crushed plasters, glass, ceramics and marble,

mixed into quite a lot of lime that contains lime lumps which are often large. The components

of these plaster types vary due to the components in the reused plaster, which might be “black

and white” or many-coloured, but the low quality is always recognizable.

Finally there is group X, into which any other kind of sampled material, such as cocciopesto,

mortar, and opus graecanicum, have been placed.



92

Fig.60. Plaster groups/types.Top line: Group 0: CA1, CC5. Group Aa: CM9, GM4.

Second line: Group Ab: V 3, 8, EG 1G11. Group B: CC2.

Third line: Group C: C2. Group D: BI6. Group E: CM4.

Bottom line: Group F: CA7. Group G: A2. Group H: Pap 5.



93

Fig.61. Table of plaster groups, buildings, identified Pompeian styles and suggestions on dating according to

archaeological and ar historical sources. As to group zero, these plasters appear at levels of the 3rd century BC

and earlier.

Group House/building Identified decoration

motif

Period

0 Casa del Centauro

Casa delle Amazzoni

Casa di Caecilius Iucundus

Wave

Red socle

End of 4th c. BC

Earliest wall structure

A (Aa) Casa del Granduca Michele

Casa del Marinaio

Casa degli Epigrammi Greci

Temple of Venus, below

1st style

1st style

c. 300 BC

late 3rd-early 2nd

century BC

earliest phase

3rd century BC

A (Ab) Casa del Granduca Michele

Casa del Centauro

Casa del Frutteto

Casa di Amarantus

1st style

1st style

1st style

c. 250BC

end of 3rd c. BC

2nd century BC

2nd century BC

B Casa del Centauro

Casa degli Epigrammi greci

Casa del Bell’Impluvio

Basilica, redecoration

Casa di Cerere

1st style

1st style

1st style

2nd style

2nd centuryBC

c.120 BC

c.120 BC

c. 120 BC

c. 120 BC

C Casa degli Epigrammi Greci

Casa del Torello

Casa di Cerere

Casa del Bell’Impluvio

Temple of Jupiter

2nd style

2nd style

2nd style

2nd style

2nd style

c. 80-50 BC

c. 80-50 BC

c. 80-50 BC

D Casa di Caecilius Iucundus

Casa del Bell Impluvio

3rd style

3rd style

Early Augustan?

Early Augustan?

E Casa di Caecilius Iucundus

Casa del Marinaio

Casa del Frutteto

3rd style

3rd style

3rd style

c. 20-10BC

F Casa di Caecilius Iucundus

Casa del Frutteto

Edifice of Eumachia

Casa di Caecilius Iucundus

3rd style

3rd style

3rd style

4th style

c. 40-50 AD

c. 40-50 AD

Claudian?

G Macellum

Casa di Amarantus

4th style

4th style

c.50-62 AD

H Decorations and repair 4th style After AD 62



94

Relative chronologyA relative chronology between the plasters discussed above has been established, as shown

below. All phases are not represented in any single house investigated. Therefore, an

overlapping pattern is used to illustrate the sequences, placing the oldest plasters at the lowest

and the later ones at the top. The samples used for relative chronology were removed from plaster layers still in situ. Four houses in the present study, Casa delle Amazzoni (CA), Casa

del Granduca Michele (GM), Casa del Centauro (CC), and Casa degli Epigrammi Greci (EG)

have been selected to show early relative chronologies. Since the later periods have not been

part of this investigation, three houses in the previous study, Casa del Bell’Impluvio (BI),

Casa di Amaratus (A), and Casa di Cerere (C) have been added as well. The present

illustration is based on the joint results of laboratory analyses at CNR/ICBVC and my own

observations under the microscope, except for the plasters in Casa degli Epigrammi Greci,

where laboratory analyses were made only on EG1B2 and EG1G11. In one case there is not acomplete agreement on how to place a plaster type. It regards CA4, which in my opinion

might be a “dirty” variety of plasters in group Aa. I just want to add that plasters found at the

Edifice of Eumachia belong to groups D, E, and F, and those at Macellum belong to group G

and H, just to mention a couple of results at late buildings.

H --EG1C3 --BI9 --A8

G --EG1G8 --A2

F --EG1A13 --BI7 --C14

E --EG2C1 --A6 --C7

D --BI6

C --EG1B8 --BI2 --C2

B ---CC2 --EG1A12 --BI1 --A4 --C9

Ab ------GM1 ---CC1 --EG1G11 --A1 --C1

Aa ------GM4 --EG1B2

0/Aa ----- CA4 ---CC5

0/Aa ----- CA3

0 ----- CA2 ------GM2

0 ----- CA1 --A52A



96

while a less distinguished workshop or craftsman could be assigned simple jobs for a cheap

prize. I do not believe the plasterers and decorators who worked at the Forum would have

done a job in the fish-traders workshop in insula I 9, 8.

There are notable differences between plasters related to time. As a principle, all decorations

in the early and mature First style are of a high quality, after which there is a period of decline

towards the end in the transitional period between the First and Second styles. There is a new

period of high-class technique in the Second style and the transition to the Third. During a

period, Third style plasters reach only medium quality, due to the large grains causing

shrinkage and cracks in the plaster. Then again, there are excellent plasters in the late Third

and early Fourth style, after which there is a general, gradual decline.

Considerations on the methods used

The present study has been carried through according to two different systems; the main part,in which I had control over the process from the start to the end, and the second part, in which

I had no full knowledge about sampling and discussions that led to results. These different

situations have had importance.

In the main part of the study focus was set on early plasters and the archaeologists with whom

I collaborated had specific questions related to materials in their excavations. Therefore it

became a teamwork, in which relevant information was provided at the start. As the study

proceeded, particular samples were sent to Florence for laboratory analyses. My preliminary

results were discussed and in case there was some ambiguity or new questions arose,suggestions and explanations were part of this on-going process, which has been very

fascinating and rewarding.

The situation has been different as far as second part is concerned, because my method should

be tried on already studied and branded plasters obtained in six houses in the Swedish

research project at insula V 1. Only the fifty-seven reference samples should be studied and

placed into the present plaster groups. Instead of regular collaboration in situ and discussions

on the prevailing conditions, the documentation carried out during the years handed over to

me became the main source of information.

At first it seemed an easy task to integrate these samples into the present system, but it took a

lot of time and effort. The main reasons are my lack of first-hand knowledge of the sampling

contexts, the absence of comments in the plaster reports regarding unsolved problems or odd

situations, as well as no comments on my preliminary results. Further, in my study, odd

plasters have been sent to laboratory for analyses, an instrument that was not used in the

Swedish project. In addition there were obstacles due to slightly different documentation

methods, as will be explained below.

Sampling is thoroughly done within the Swedish project. As a rule, all plastered walls in

every room in each house have been sampled to define all plastering phases. In my



97

investigation comparatively few samples are needed to identify plasters connected with

selected decoration phases. The documentation in both projects is similar: identification of

house, room, wall, and sampling area. Sampling areas are indicated on forms, plans and

photos and the plaster type verbally described on sheets. The main difference is

terminological: in the plaster reports of insula V 1 there is no clear distinction between spolia,

first layer and small remain, which of course, creates uncertainties since only a layer

establishes a decoration period of the wall on which it was found.

The basic shared method is to study plaster samples under the microscope, to identify the

components and label each sample according to a comprehensible system, to begin with the

plaster type. All samples within a building with the same characteristics belong to one type,

those with other qualities to the next and so on. The difference is that my plaster types are

placed into groups which contain plasters of the same kind, found in any number of houses. In

the Swedish examination each plaster type represents a phase, linked to the houseinvestigated. The definition of plaster type is strict, and small variations are taken into

account. Two layers that evidently belong to the same decoration period but are slightly

different are defined as two types and therefore belong to two phases. As a consequence, the

numbers of plaster types tend to be many and the phases become many too. This procedure is

functional as far as only one house is investigated. The system implies that if a new plaster

type is found and is inserted into the arrangement, the branding of plasters later than the new

one, must change. For me it was sometimes difficult to sort things out and to make

comparisons between houses.When, on the other hand, plaster types are placed into regular groups it becomes relatively

easy to compare plasters in different buildings, because a group may contain plasters of the

same kind obtained in many houses. Minor variations between samples are allowed because

variations are expected in a product made of natural materials and mixed by man. However,

group A always contains plasters that are connected to the First style, E always contains

plasters used for Third style decoration and so on.

Problems – solved and unsolved

Some areas in some houses have been problematic. In most cases problems have been solved

by exchange of information, rethinking and cross-checking. However, some problems remain

unsolved.

In Casa delle Amazzoni there is a problematic area. On the north wall in the atrium, the

perimeter wall towards the neighboring house, there are four plaster layers in chronology

which represent at least two decoration periods, both of which a red socle. These layers are

situated below the present floor level. At a later date the wall was decorated on plaster of

group F, connected with the Third and early Fourth style.



98

The earliest period was made on a plaster, by combined methods identified as belonging to

group 0, and the second as belonging to group Aa. Since the second plaster type is of a type

known from many early decorations, it is considered as an established phase, definitely in the

early First style. Therefore the decoration underneath must be of an earlier period, in this case,

the less known group of plasters in group zero. The problem is that the construction method

used for the perimeter wall indicates a later date for the wall. However, the plaster of the first

phase is compatible with the earlier period of the house.

There were two similar situations during my prior research period, in the double house of

Amarantus, I 9, 11-12. In the bar area of house 11 four plaster layers, two of which were

decorated, were found in relative chronology below the last floor level. The second layer

belonged to the same group as the recognized First style decoration in the house, and as a

consequence, the first decoration had to be earlier. The earliest plaster was, according to

laboratory analyses, of the same kind as the first phase in Casa delle Amazzoni. I would rather place it in the grey zone 0/A. The second problematic situation was in room 4a where another

plaster layer was dated earlier than the perimeter wall. The perimeter wall was partially made

of Sarno limestone, partially of rubble and partially of brick that is, representing several

building periods. The tricky plaster was found at a small section of Sarno stone blocks. Such

an early period would, according to archaeological interpretations, not be likely. At the

moment the matter remains unsolved.

In Casa di Marcus Luctretius is a decoration recognized as in the Third style, but the last layer

is, according to my results, indicative of a later period. The plaster which I place in group Hhas several characteristics of group E, many yellow and beige grains, but it seems to be reused

material, rather than original “third style plaster”. Underneath the layer that provided this

plaster is a plaster that definitely belongs to group E, that is, the Third style. The explanation

may be that the decoration was totally, or at least partially, re-made to resemble the earlier

period. Such re-decorations are known in other houses at Pompeii, but still, there is no

definite answer at present.

Most problems are related to plasters that have characteristics of two types, and most common

is the question whether a plaster in group A belongs to subgroup Aa or Ab. In those cases the

filler has many small rounded particles as well as a lot of crystals, which might be explained

as a subgroup or a transitional phase between Aa and Ab. In my opinion, that would lead to a

too complex system and therefore, in case there are serious doubts just group A might be

indicated, no subgroup.

The problem of subgroup Aa or Ab occurs in several houses that are part of this investigation

and in houses in the previous investigation too. In common, there is a decoration consisting of

a yellow socle above which there is a string course and the main zone which is white. In some

houses the plaster is definitely Ab, in others it has characteristics of both subgroups Aa and



100

Conclusions

The results of the present plaster investigation and of the one completed in 2005, show that

the analyses of plaster samples is a functional method that can be used as a complementary

tool at excavations.

It has been possible to establish that plasters’ compositions change over time, and that the

plastering technique did as well. It has been possible to follow the development from the fine

brownish plasters of the earliest period, to the exceptional ones of the First style, the short

period of decline around the late First/early Second style to the well-made plasters of the

Second and early Third, a new short period of slightly inferior plasters and yet another

outstanding period in the late Third/ early Fourth style and then, the dark and successively

ever more hastily made plasters that are characteristic of the last days of Pompeii. The

observations on technique and craftsmanship follow the same pattern as that regarding

plasters. The maximum periods are approximately in the mature First style, the mature Secondand mature Third/early Fourth style. It has not been possible to connect any specific workshop

to specific decorations, but there are variations that might be indicative for different

workshops.

The question regarding materials, plastering quality and conservation show there is a

correlation between quality and degree of decay; the better decorations and plasters have

survived in a better way. But, above all, relevant protection such as roofing or partial roofing

of excavated structures, elimination of stagnant water, and regular maintenance proves to be

the most efficient and important methods for the preservation of standing structures and wall paintings at an archaeological site.



101

BIBLIOGRAPHY

Adam 1981 T. Adam, J.P. Adam, “Le techniche costruttive a Pompei: una documentazion

a cura del CNRS”, in Pompei 1748-1980, I tempi della documentazione,

Pompei 1981, 96-105.

Antolini, Leone 2007 M. Antolini, P. Leone, “Domus VII 15, 1-2, in Rivista di Studi Pompeiani

XVIII , Napoli 2008, 108.

Barbet 1985 A. Barbet, La peinture murale romaigne, Paris 1985.

Bastet, De Vos 1979 F.L. Bastet, M. De Vos, Il terzo stile pompeiano, Gravenhage 1979.

Befani et al. 2011 V. Befani, L. Anniboletti, M. Antolini, “ Decorazioni di Primo stile nella

Domus VI 2, 14 e nella Casa del Marinaio (VII 15, 1-2): Recenti aquisizioni”,

in Pittura ellenistica in Italia e in Sicilia. Linguaggi e tradizioni. Atti del

Convegno di Studi (Messina, 24-25 settembre 2009), Roma 2011, 459-471.

Beyen 1960 H.G. Beyen, Die Pompejainische Wanddekoration vom zweiten bis zum vierten

Stil, Zweiter Band, Haag 1960.

Beyen 1938 H.G. Beyen, Die Pompejainische Wanddekoration vom zweiten bis zum vierten

Stil , Erster Band, Haag 1938.

Beyen 1951 H.G. Beyen, “The workshops of the “Fourth Style” at Pompeii and in its

Neighbourhood”, in Mnmemosyne, Leiden 1951, 235-257.

Bläuer-Böhm, Jägers 1997 C. Bläuer-Böhm, E. Jägers, “Analysis and Recognition of Dolomitic Lime

Mortars”, in Roman wall painting . Materials, Techniques, Analysis and

Conservation. Proceedings of the International Workshop. Fribourgh 7-9 March

1996 , 223-235, Fribourgh 1997.

Bordignon 2000 C. Bordignon, Caratteri e dinamica della tecnica pittorica nelle catacombe di

Roma, Caxias do Sul/Roma 2000.

Bragantini et al. 1981 I. Bragantini, M. de Vos, F. Parise Badoni, Pitture e pavimenti di Pompei,

parte 1, Roma 1981.

Bragantini et al. 1983 I. Bragantini, M. de Vos, F. Parise Badoni, V. Sampaolo, Pitture e pavimenti di

Pompei, parte I1, Roma 1983.

Bragantini, Parise Badoni I. Bragantini, F. Parise Badoni, “Il quadro pompeiano nel suo contesto

1985 decorativo”, in Ricerche di pittura ellenistica, Roma 1985.

Brun 2008 J-P. Brun, “Uno stile zero? Andron e decorazione pittorica anteriore al primo

stile nell’insula I 5 di Pompei”, in Nuove Ricerche archeologiche nell’area

vesuviana (scavi 2003-2006), Atti del Convegno Internazionale, Roma 1-3

febbraio 2007 , Roma 2008, 61-70.

Cagiano de Azevedo 1949 M. Cagiano de Azevedo, “Il restauro degli affreschi della Casa di Livia”, in

Bollettino d’Arte, 2, 1949, 145-149.

Carafa 2007 P. Carafa, “Recent work on early Pompeii”, in The World of Pompeii, London

and New York 2007, 63-72.

Castrén (ed.) 2008 P Castrén (ed.) Domus Pompeiana. Ett hus i Pompeji, Helsingfors 2008.

Castrén et al. 2008 P. Castrén, R. Berg, A. Tammisto, E-M. Viitanen, “In the heart of Pompeii –

Archaeological Studies in the Casa di Marco Lucretio (IX 3, 5.24)” in Nuove

Ricerche archeologiche nell’area vesuviana (scavi 2003-2006), Atti del

Convegno Internazionale, Roma 1-3 febbraio 2007 , Roma 2008, 331-340.

Cinti 1992 P. Cinti, “L’intervento di restauro”, in Alla ricerca di Iside. Analisi, studi e

restauri dell’Iseo pompeiano nel Museo di Napoli, 123- 132, Roma 1992.

Clarke 1991 J.R. Clarke, The houses of Roman Italy 100BC-AD 250: ritual, space and

decoration, Berkeley 1991.

Coarelli 2005 F. Coarelli, “Nuovi dati sulla storia edilizia di Pompei. Il progetto Regio VI:

Campagna di scavo nell insula 2”, in Nuove ricerche archeologiche a Pompei

ed Ercolano 10, Napoli 2005, 97-100.

Coarelli 2008 F. Coarelli, “Il settore nord-occidentale di Pompei e lo sviluppo urbanistico

della città dall’ età arcaica al III secolo a.C.”, in Nuove Ricerche archeologiche

nell’area vesuviana (scavi 2003-2006), Atti del Convegno Internazionale,

Roma 1-3 febbraio 2007 , Roma 2008, 171-176.

Curti 2008 E. Curti, “Il tempio di Venere Fisica e il porto di Pompei”, in Nuove Ricerche



102

archeologiche nell’area vesuviana (scavi 2003-2006), Atti del Convegno

Internazionale, Roma 1-3 febbraio 2007 , Roma 2008, 47-60.

D’Auria 2011 D. D’Auria, “La protocasa del Grandica Michele (VI, 5, 5): funzionalità degli

ambienti, tipologie edilizie e decorazioni parietali”, in Pittura ellenistica in

Italia e in Sicilia. Linguaggi e tradizioni. Atti del Convegno di Studi (Messina,

24-25 settembre 2009), Roma 2011, 447-458.

D’Auria forthcoming D. D’Auria, Gli apparati decorativi delle case di livello medio a Pompei in etàellenistica, in N. Zimmermann (ed.), Antike Malerei zwischen Lokalstil und

Zeitstil? Atti del X Congresso Internazionale dell’AIPMA (Association

Internationale pour la Peinture Murale Antique),

Della Corte 1965 M. Della Corte, Case ed abitanti di Pompei, Napoli 1965.

de Vos, 1976 M. de Vos, “Scavi nuovi sconosciuti (I 9, 13). Pitture e pavimenti della Casa di

Cerere a Pompei”, in Mededelingen van het Nederlands Instituut te Rome, 37-

75, 1976.

de Vos 1981 M. de Vos, ”La bottega di pittori di Via di Castricio” in Pompei 1748-1980,

119-130, Napoli 1981.Dobbins 1994 J. J. Dobbins, “Problems of chronology, decoration, and urban design in the

forum at Pompeii“, in American Journal of Archaeology 98, 629-694, 1994.

Dobbins, Ball 2005 J.J. Dobbins, L.F Ball, “The Pompeii Forum Project”, in Nuove ricerchearcheologiche a Pompei ed Ercolano 10, Napoli 2005, 60-72.

Dobbins, Foss (eds.) 2007 J.J. Dobbins, P.W. Foss (eds.), The World of Pompeii, London and New York

2007.

Ehrhardt 1987 W. Ehrhardt, Stilgeschichtliche untersuchungen an römischen Wandmalereien,

Mainz am Rhein 1987.

Ehrhardt 2005 W. Ehrhardt, “I stili pompeiani ed il proprietario: l’esempio della Casa delle

Nozze D’Argento“ in Nuove ricerche archeologiche a Pompei ed Ercolano 10,

Napoli 2005, 170-190.Ehrhardt, Mayer Graft W. Ehrhardt, R. Meyer-Graft,”Untersuchung der Putzträger und der Malereien

1998 in der Casa delle Nozze d`argento in Pompeji und präsentation der Ergebnisse

aus der sicht des Restaurators und des Archäologen”, in Roman wall painting .

Materials, Techniques, Analysis and Conservation. Proceedings of the I

nternational Workshop. Fribourgh 7-9 March 1996 , 317-327, Fribourgh 1997.Eschebach 1993 H. Eschebach, Gebäudeverzeichnis und Stadtplan der antiken Stadt Pompeji,Köln Weimar Wien 1993.

Eschebach 1995 H. Eschebach, Pompeji: vom 7. Jahrhundert v. Chr. Bis 79 n. Chr ., Köln 1995.

Esposito 2011 R. Esposito, “Decorazione parietale nella protocasa del Centauro (VI, 9, 3)“, in

Pittura ellenistica in Italia e in Sicilia. Linguaggi e tradizioni. Atti del

Convegno di Studi (Messina, 24-25 settembre 2009), Roma 2011, 437-446.

Franklin 1990 J.L. Franklin, Pompeii: “The Casa del Marinaio“ and ist history, Roma 1990.

Freccero 2000a A. Freccero, Roman Painting. Wall paintings, Fayum portraits and polychrome

statuary, Göteborg 2000.

Freccero 2000b Freccero, A. Mumieporträtt . Stockholm 2000.

Freccero 2000c Freccero, A. Fayum Portraits. Documentation and scientific analyses of

portraits belonging to Nationalmuseum in Stockholm. Göteborg 2000.

Freccero 2002 A. Freccero, Encausto and Ganosis. Beeswax as paint and coating during the Roman era and its applicability in modern art, craft, and conservation,

Göteborg 2002.

Freccero 2005 Pompeian Plasters. Insula I 9 and Forum, Roma 2005.

Fulford, Wallace Hadrill M. Fulford, A. Wallace Hadrill, “The House of Amarantus 1996 at Pompeii (I, 9, 11-12): “An Interim Report on Survey and Excavations in

1995-96”, in Rivista di Studi Pompeiani, VII, 1995 - 96.

Fulford, Wallace-Hadrill M. Fulford, A. Wallace-Hadrill, “Region I, insula 9. The

1998 British Project”, in Unpeeling Pompeii, 49-69, Milano 1998.

Grave 2002 P. Grave, “Plaster analysis”, in Casa della Caccia Antica. Häuser in Pompeii,

Band II, München 2002.

Häfner 1997 K. Häfner, “Experiments on the reconstruction of the Roman wall painting



103

technique”, in Roman Wall Painting. Materials, Techniques, Analysis and

Conservation. Proceedings of the International Workshop. Fribourgh 7-9 March

1996 , 143-152, Fribourgh 1997.

Karivieri 2005 A. Karivieri, “Insula V 1: Casa di Caecilius Iucundus (V 1, 23-26) in Nuove

ricerche archeologiche a Pompei ed Ercolano, 10, Napoli 2005, 150-155.

Karivieri, Forsell 2008 A. Karivieri, R. Forsell, “New results from the campaigns of 2003 -2006 in the

Casa di Caecilius Iucundus”, in Nuove Ricerche archeologiche nell’areavesuviana (scavi 2003-2006), Atti del Convegno Internazionale, Roma 1-3

febbraio 2007 , Roma 2008, 103-108.

Laidlaw 1985 A. Laidlaw, The First Style in Pompeii: Painting and Architecture, Roma 1985.

La Rocca, de Vos, de Vos E. La Rocca, M. de Vos, A. de Vos. Pompei. Guide

2002 archeologiche, Milano 2002.

Leander Touati 2008 A-M Leander Touati, “Shared structures – common constraints. Urbanization

of Insula V 1”, in Nuove ricerche archeologiche nell’ area Vesuviana (Scavi

2003-2006). Atti del convegno Internazionale, Roma 1-3 febbraio 2007 , Roma

2008, 117-124.

Leander Touati 2010 A-M Leander Touati, “Water, well-being and social complexity in insula V 1”,

in Opuscula, Annual of the Swedish Institutes at Athens and Rome, 3 , 2010,

105-161.Ling 1991 R.S. Ling, Roman Painting , Cambridge 1991.

Ling 1999 R. S. Ling, Stuccowork and Painting in Roman Italy. Cambridge 1999.

Maiuri 1955 A. Maiuri, Pompei, Roma 1955.

Maiuri 1973 A Maiuri, Alla ricerca di Pompei preromana, Napoli 1973.

Mau 1882 A. Mau, Geschichte den dekorativen Wandmalerei in Pompeji, 1882.

Mau 1900 A. Mau, Geschichte den dekorativen Wandmalerei in Pompeji, 1900.

Mau 1909 Mau, Pompeji in Leben und Kunst , Leibzig 1909.

Marchese et al. 2001 B. Marchese & O. Marino & S. Paoli & P. Vallario, “La calce: composizione e

microstruttura”, in La Casa di Giulio Polibio, Ciarallo & De Carolis (eds), Pompei

2001.

Meyer-Graft, Ehrhardt R. Meyer-Graft & W. Ehrhardt, ”Untersuchung der

1998 Putzträger und der Malereien in der Casa delle Nozze d`argento in Pompeji und präsentation der Ergebnisse aus der sicht des Restaurators und des

Archäologen”, in Roman wall painting . Materials, Techniques, Analysis and

Conservation. Proceedings of the International Workshop. Fribourgh 7-9

March 1996 , 317-327, Fribourgh 1997.

Miniero Forte (ed.)1989 P. Miniero Forte (ed.), Stabiae. Pitture e stucchi delle ville romane, Napoli

1989.

Miriello et al. 2010 D. Miriello, D. Barca, A. Bloise, A. Ciarallo, G.M. Crisci, T.De Rose, C.

Gattuso, M.F. La Russa, “Characterization of archaeological mortars from

Pompeii (Campania, Italy) and identification of construction phases by

compositional data analyses”, in Journal of Archaeological Science, 37 , 2010,

2207-2223.

Mora 1967 P. Mora, (1967) ”Proposte sulla tecnica della pittura murale romana”, in Bollettino del Istituto Centrale del Restauro, 63-84.

Parise Badoni 1981 F. Parise Badoni, “La campagna fotografica dell’Istituto Centrale per il

Catalogo e documentazione”, in Pompei 1748 – 1980. I tempi della

documentazione, 57-80, Roma 1981.

Pesando 2005 F. Pesando, “Il progetto Regio VI: Le campagne di scavo 2001-2002 nelle

insulae 9 e 10” in Nuove ricerche archeologiche a Pompei ed Ercolano. Atti

del convegno internazionale, Roma, 28-30 novembre 2002, Napoli 2005.

Pesando 2008 F. Pesando, “Case di età medio-sannitica nella Regio VI: tipologia edilizia e

apparati decorativi”, in Nuove Ricerche archeologiche nell’area vesuviana

(scavi 2003-2006), Atti del Convegno Internazionale, Roma 1-3 febbraio 2007 ,

Roma 2008, 159-172.

Peterse 1999 K. Peterse, Steinfachwerk in Pompeji. Bautechnik und Architektur. Mit einem Beitrag von Ineke Joosten, Amsterdam 1999.



104

PPP I I. Bragantini, M. de Vos, F. Parise Badoni, Pitture e pavimenti di Pompei,

parte 1, Roma 1981.

PPP II I. Bragantini, M. de Vos, F. Parise Badoni, V. Sampaolo, Pitture e pavimenti di

Pompei, parte I1, Roma 1983.

Pucci et al 2008 G. Pucci, E. Chirico, V. Salerno, F. Marri, “Le ricerche dell’ università di Siena

a Pompei”, in Nuove ricerche archeologiche nell’ area Vesuviana (Scavi

2003-2006). Atti del convegno Internazionale, Roma 1-3 febbraio 2007 , Roma2008, 223-236.

Price 1996 C.A. Price, Stone Conservation. An overview of current research, USA 1996.

Richardson 2000 L. Richardson Jr, A Catalog of Identifiable Figure Painters of Ancient Pompeii,

Herculaneum and Stabiae, Baltimore 2000.

Sabbioni et al. 2001 C. Sabbioni & G. Zappia & C. Riontino, “Studio delle malte”, in La casa di

Giulio Polibio, Ciarallo & De Carolis (eds), Pompei 2001.

Schefold 1957 K. Schefold, Die Wände Pompejis. Topographisches verzeichnis der

bildmotive, Berlin 1957.

Sear 1988 F. Sear, Roman Architecture, London 1988.

Sigurdsen 2007 H. Sigurdsen, “The envir onmental and geomorphological context of the

volcano”, in The World of Pompeii, London, New York 2007.

Staub 2008 T. Staub, “Initiating the study of Casa del Torello, (V 1, 7). Some observationsconcerning the water use and distribution”, in Nuove ricerche archeologichenell’area vesuviana (scavi 2003-2006), Atti del Convegno Internazionale, Roma 1-

3 febbraio 2007 , Roma 2008, 109-116.

Staub Gierow 2005 M. Staub Gierow, “Insula V 1: Casa degli Epigrammi Greci (V 1 18.11-12”, in

Nuove ricerche archeologiche a Pompei ed Ercolano, 10, Napoli 2005, 144-149.

Staub Gierow 2008 M. Staub Gierow, “Some results from the last years’ field work in Casa degli

Epigrammi greci (V 1, 18. 11-12), in Nuove Ricerche archeologiche nell’area

vesuviana (scavi 2003-2006), Atti del Convegno Internazionale, Roma 1-3

febbraio 2007 , Roma 2008, 93-102.

Stella, Laidlaw 2008 M.S. Stella, A. Laidlaw, Nuove indagini nella Casa di Sallustio (VI 2, 4)” in

Nuove Ricerche archeologiche nell’area vesuviana (scavi 2003-2006), Atti del

Convegno Internazionale, Roma 1-3 febbraio 2007 , Roma 2008, 147-158.Strocka 2007 V.M. Strocka, “Domestic decoration: painting and the “Four Styles”, in The

world of Pompeii, London and New York 2007, 302-322.

Tammisto, Kuivalainen A. Tammisto, I. Kuivalainen, “Utsmyckningen av väggar och golv i Marcus

2008 Lucretius hus”, in Domus Pompeiana. Ett hus i Pompeji, Helsingfors 2008.

Torracca 1990 G. Torracca, Solubility and Solvents for Conservation Problems, Rome 1990.

Vitruvius Zehn bücher über Architectur . Translated to German by C. Fensterbusch,

Darmstadt 1964.

Vlad Borrelli 1981 L. Vlad Borrelli, “Le pitture e la tecnica della conservazione”, in Pompei 1748-

1980, 81-87, Roma 1981.

Wallace-Hadrill 1994 A. Wallace-Hadrill, Houses and society in Pompeii and Herculaneum, Ney

Yersey 1994.

Wallace Hadrill 2005 Excavation and standing structures in Pompeii Insula I.9, in in Nuove ricerchearcheologiche a Pompei ed Ercolano 10, Napoli 2005, 101-108.

Wallace-Hadrill 2007 A. Wallace-Hadrill, “The development of the Campanian house”, in The World

of Pompeii, London and New York 2007, 279-291.

Wallace-Hadrill et al 2006 A. Wallace Hadrill, D, Camardo, M. Martelli Castaldi, G. Rizzi, “ L’

Herculaneum Conservation Project”, in Oebalus, studi sulla Campania

nell’Antichità, 1 2006, 233-272.

Wallat 1997 K. Wallat, Die Ostseite des Forums von Pompeji, Frankfurt am Main 1997.

Wilks 1999 H. Wilks, Science for Conservators, vol. 2. Cleaning, London and New York

1996.

Zanker 1993 P. Zanker, Pompei, Torino 1993.



105

APPENDICES

Schedules



I 16, 5 Casa di Petronia

V 1, 7 Casa del Torello

V 1, 24 Taberna

V 3, 8

VI 2, 4 Casa di SallustiusVI 2, 14 Casa delle Amazzoni



VII 15, Casa del Marinaio

VIII Temple of Venus

IX 3, 5.24 Casa di Marcus Lucretius


V 1, 13 Caupona

V 1, 14-16 Bakery and shop

V 1 18 Casa degli Epigrammi Greci

V 1, 20-21 Taberna

V 1, 23 Casa di Caecilius Iucundus

V 1, 26 Casa di Caecilius Iucundus

Tables



106


Sample no 1 Room 8, west wall.

Location H. 0.24, 0.24 from SW corner

Decoration Red and yellow socle.

Layer Layer with decoration and hack-marks in a

walled-up doorway. Covered by 8:2.

Plaster Black and white, large grains Binder White lime, grey at the top. Enough.

Filler Mainly rounded, medium sized and large

grains 0.8-1.5 mm, 2-2.5 mm.

Compact : Mainly black and pale grey,

some beige and brown. Some black with

red dots. Porous: Red dust.

Crystalline: Black. A few transparent grey

and uncoloured.

Stucco 2 mm Lime Slightly beige.

Filler Small uncoloured crystals.

Plaster type 8:1

Group B

Comments

Very frail plaster. Some very large pale grey grains more than 3 mm. Some small between

large. Many large irregular black and grey. Lack of small particles. Similar to BI1, PS2,

A4, EG 1A12.

Analyses -



107


Sample no 2 Room 8, west wall.

Location H. 0.39, 0.14 from SW corner. Decoration Red socle.

Layer Top layer, covering 8:1.

Plaster Sandy grey plaster Binder Sandy lime with large lime lumps.

Filler Very small particles 0.2-0.5 mm and some

large 4-5 mm, crushed materials.

Compact : Black and grey, many beige,

some pale yellow and ochre.

Porous: Many red.

Crystalline: Black, transparent uncoloured,green, and yellow.

Stucco - Lime

Filler

Plaster type 8:2

Group H

Comments Hard plaster. Crushed materials, reused plaster. Belongs

to the same group as PS 10.

Analyses -



108


Sample no 3 Room 8, north wall.

Location H. 1.62, 0.88 from NW corner.

Decoration -

Layer Plaster seam with stucco.

Plaster Black and white, lots of crystals Binder Clean creamy white lime. Enough.

Filler Angular and rounded, small grains 0.2-0.4

mm and 0.8-1 mm.

Compact : Black, pale and warm grey,

brown. A few ochre. Black with red dots.

Porous: Red.

Crystalline: Black. Transparent grey,uncoloured, green and yellow.

Stucco 5 mm

Lime White.

Filler Large and small uncoloured crystals.

Plaster type 8:3

Group A (Ab)

Comments Similar to 8:1 but with cleaner lime and not so many

large grey.

Same group as PS1, similar to PS2.

Analyses -



109


Sample no 4 Room 8, north wall.

Location H. 0.50, 0.10 from NW corner.

Decoration Green decoration.

Layer Top layer, above socle.

Plaster Black and white, large grains Binder Dirty lime.


grains 0.8-1.5 mm, 2-2.5 mm.

Compact : mainly black and pale grey,



Crystalline: Black. A few transparent grey

and uncoloured.

Stucco 3 mm Lime White, slightly beige.

Filler Large and small uncoloured crystals.

Plaster type 8:1

Group B

CommentsLack of small grains. Few crystals. Same group as 8:1.

Analyses -



110


Sample no 5 Room 10

Location East wall, h. 1.00, 0.06 from ne corner

Decoration -

Layer Layer trapped behind the later cross-wall

(north wall)

Plaster Black and white, lots of crystals Binder Clean creamy white lime. Enough.

Filler Angular and rounded small grains 0.2-0.4

mm and 0.8-1 mm. A few large 1.5-3 mm.


brown. Black with red dots. Porous: Red.

Crystalline: Many black. Transparent grey,

uncoloured, green and yellow.

Stucco - Lime

Filler

Plaster type 8:3

Group A (Ab)

CommentsLots of crystals. Same group as PS1.

Analyses -



111


Sample no 6 Room 10

Location East wall, h. 1.15, 0.06 from NE corner.

Decoration -

Layer Plaster seam into room 8.

Plaster Black and white, large grains Binder Clean white slightly grey lime. Much.


grains 0.8-1.5 mm, 2-2.5 mm.

Compact : Mainly black and pale grey,



Crystalline: Black. A few transparent

uncoloured.

Stucco - Lime

Filler

Plaster type 8:1

Group B

CommentsMainly black particles. Lack of small grains.

Analyses -



112


Sample no 7 Room 10

Location East wall, h.1.15, 0.06 from NE corner.

Decoration Red stucco.

Layer Top layer, last phase.

Plaster Sandy grey plaster Binder Unclean sandy lime with lime lumps.

Filler Mainly small grains. Crushed materials.

Compact : black, grey beige, pale yellow.

Porous: Many red.

Crystalline: Black, transparent uncoloured

and yellow.Stucco -

Lime

Filler

Plaster type 8:2

Group H

Comments

Very similar to 8:2.

Analyses -



113


Sample no 8 Room 10

Location West wall, h. 1.44, 0.44 from SW corner

Decoration -

Layer First layer on the wall, red preparation.

Plaster cocciopesto Binder

Filler Compact :

Porous:

Crystalline:

Stucco

Lime Filler

Plaster type 8:8

Group X

Comments

Waterproof layer. Red plaster, smooth structure.

Analyses -



114


Sample no 9 Room 10

Location West wall, h.1.20, 0.37 from SW corner.

Decoration -

Layer First layer, preparation.

Plaster cocciopesto Binder

Filler Compact :

Porous:

Crystalline:

Stucco

Lime Filler

Plaster type 8:8

Group X

Comments

Red plaster, rough structure.

Analyses -



115


Sample no 10 Room 10

Location West wall, h. 1.25, 0.36 from SW corner.

Decoration -

Layer Top layer, covering 8:8 and 8:9.

Plaster Sandy grey plaster Binder Unclean sandy lime with lime lumps.


Compact : Black, pale grey, beige, brown,

pale yellow and ochre. A few white.

Porous: Red.

Crystalline: Black, transparent grey anduncoloured.

Stucco Red stucco. Lime

Filler

Plaster type 8:2

Group H

CommentsSame group as PS10.

Analyses -



116


Sample no 11 Room 9

Location West wall, h.0.20, 0.58 from NW corner.

Decoration Black decoration.

Layer First layer covered by 8:12.

Plaster Many colours, large grains Binder White lime.


grains 0.5-1.5mm.

Compact : Black, pale grey, beige, brown

and ochre. A few white. Dots. Beans.

Porous: Red.Crystalline: Black, transparent grey,

uncoloured, green, yellow and orange.

Stucco 3 mm

Lime White.

Filler Large and small crystals.

Plaster type 8:11

Group E

Comments

Lots of yellow.

Analyses -



117


Sample no 12 Room 9

Location West wall, h.0.21, 1.25 from NW corner.

Decoration Black decoration, socle.

Layer Last phase.

Plaster Sandy grey plaster Binder Unclean lime with lime lumps.


Compact : Black, grey, brown, pale

yellow, and ochre.

Porous: Red.

Crystalline: Black, transparentuncoloured and grey.

Stucco - Lime

Filler

Plaster type 8:2

Group H

Comments This part of the black decoration was painted on a thin

lime layer.

Same as 8:10.

Analyses -



119


Sample no 14 Room 8

Location North wall, h. 1.47, 0.50 from NW corner.

Decoration -

Layer First layer on the stone, covered by 8:15.

Plaster Black and white, lots of crystals Binder Clean white lime. Enough.


and 0.8-1 mm. A few large 1.5-3 mm.


brown. Dots.

Porous: Red.Crystalline: Black. Transparent grey,

uncoloured, and green.

Stucco - Lime

Filler

Plaster type 8:3

Group A

Comments Mainly black particles. Same as 8:2, 8:5. Same group as

PS1, similar to PS2.

Analyses -



120


Sample no 15 Room 8

Location North wall, h.1.45, 1.52 from NW corner.

Decoration -

Layer Second layer covering 8:14.

Plaster Black and white, large grains Binder Slightly beige lime. Enough.

Filler Mainly rounded medium sized and large

grains 1-1.5 mm.

Compact : Black, pale grey, beige, brown.

Dots.

Porous: Red.Crystalline: Black, transparent grey and

uncoloured.

Stucco - Lime

Filler

Plaster type 8:1

Group B

Comments

Many large grey.

Analyses -



121


Sample no 16 Room 8


Decoration -

Layer Plaster in the walled-up window.

Plaster Sandy grey plaster Binder White, slightly grey lime.

Filler Compact : Black, pale grey, a few brown,

ochre and pale yellow. Dots.

Porous: Red.

Crystalline: Black, transparent grey,

uncoloured, yellow and orange.Stucco -

Lime

Filler

Plaster type 8:2

Group H

Comments

Dirty sample. Some very small crushed particles. This

plaster is similar to sample 2 and sample 9. It most probably is the later plaster, group H.

Analyses -



122


Sample no 1 Room 4

Location West wall, h. 1.45, 0.29 from NW corner.

Decoration White stucco.

Layer Top layer with hack-marks.

Plaster Black and white, large grains Binder Clean white, slightly beige lime. Enough.

Filler Mainly rounded medium sized grains 1-1.5

mm. A few clusters of small grains 0.2-0.5

mm.

Compact : Black and pale grey. Some beige

and brown. Black with red dots.


uncoloured and yellow.

Stucco 4 mm

Lime White lime.

Filler Large and small calcite crystals.

Plaster type 10:1

Group B

CommentsSame group as PS2, BI1, EG 1A12.

Analyses -



123


Sample no 2 Room 1

Location South wall, h. 1.50 at the SW corner.

Decoration -

Layer Plaster seam.

Plaster Many colours, large grains Binder White lime

Filler Mainly rounded, irregular medium size

grains 0.4-0.8 mm, 1-1.5 mm.

Compact : Mainly black, some pale grey,

beige, brown and ochre. A few white. Black

with red dots.


uncoloured, green, yellow and orange

Stucco - Lime

Filler

Plaster type 10:2

Group E

CommentsSame group as PS4.

Analyses -



124


Sample no 3 Room 11

Location North wall, h. 0.50, 1.04 from the NW

corner.

Decoration -

Layer Plaster seam.

Plaster Black and white, large grains Binder Clean white lime slightly grey-beige.

Enough.

Filler Mainly rounded large grains 1-1.5 mm,

some small 0.2-0.5 m.

Compact : Black, pale grey, some beige, and


Crystalline: Black, transparent grey, and

yellow.

Stucco - Lime

Filler

Plaster type 10:1

Group B

CommentsSame as 10:1.

Analyses -



125


Sample no 4 Room 11

Location North wall, h.0.04 at the NE corner.

Decoration -

Layer Layer applied over the corner at a higher

level of the wall.

Plaster Many colours, large grains Binder Beige lime.

Filler Mainly rounded large grains 0.4-0.8 mm

and 1-1.5 mm.

Compact : Black, pale grey, beige and

brown. Some pale yellow and ochre. A few

white. Black with red dots. Porous: Red.



Stucco 3 mm Lime White lime.


Plaster type 10:2

Group E

CommentsSame as 10:2.

Analyses -



126


Sample no 5 Room 1

Location North wall, h. 1.35, 0.20 from SW corner.

Decoration Thin white layer.

Layer Top layer.

Plaster Many colours, large grains Binder White lime with large lime lumps.

Filler Mainly rounded, large grains.

Compact : Black, pale grey, brown, beige,

ochre. Beans.

Porous: Red.

Crystalline:Black, transparent grey,

uncoloured, green, yellow and orange.Stucco -

Lime

Filler

Plaster type 10:2

Group E

Comments

Same as 10:2. Same group as PS3.

Analyses -



129

Casa I 16, 5

Sample no 3 Room 11

Location South wall, at the middle level.

Decoration Close to the green orthostate.

Layer First layer on the wall.

Photo sam 1077.

Plaster Black and white, lots of crystals Binder White lime.

Filler Rounded and irregular, mainly medium size

particles 0.8-1.2 mm, some small 0.2-0.4

mm.

Compact : Mainly black and grey. Some brown. Black with red dots.

Porous: Red.


uncoloured and green.

Stucco - Lime

Filler

Plaster type I 16, 5: 1

Group A (Ab)

CommentsThis plaster layer is presumably connected with the green

orthostate decoration. Same kind of plaster as 5:1 and 5:2.

Analyses -



131


Sample no T 2 Room cubiculum 7

Location East wall, near the south-east corner.

Decoration

Layer Layer with perforations for stucco frieze.

Plaster Black and small grains, warm colours Binder White lime, little.

Filler Rounded and angular, very small grains 0.4-

0.8 mm and a few larger 1.5-.2 mm.

Compact : Mainly black and brown grains.

Some pale grey and beige.

Porous: Red.Crystalline: Lots of crystals; black,

transparent grey, uncoloured, green and

yellow.

Stucco - Lime

Filler

Plaster type T 2

Group C

Comments

TS: 2nd style?

This plaster belongs to the same group as plasters from

Second style decorations in e.g the Temple of Jupiter

(cella) and Casa di Cerere.

Analyses -



139


Sample no T 10 Room 15

Location North wall.

Decoration Last decoration period.

Layer Layer with preparation for painting.

Plaster Many colours, large grains Binder Clean white lime, much.

Filler Mainly medium sized particles 1-1.5 mm.

Some large 2-3mm. Lack of small.

Compact : Black, pale grey, some beige,

brown, ochre and white.

Porous: Red.Crystalline: Black, transparent uncoloured,

yellow and orange.

Stucco 2 mm with remains of red paint Lime Clean creamy white lime.

Filler Small and large calcite crystals.

Plaster type T 1

Group E

Comments

TS: Decoration contemporary with?

Last phase in room 15 (doorway to room 3), room 3

(doorway between 3 and 4), and bath 19. The plaster consists of much lime and little filler.

Analyses -



143

V 1 23, Casa di Caecilius Iucundus, taberna 24

Sample no 4 Room 24b

Location West wall, in the doorway between

rooms a and b, at the north side of the

opening.

Decoration -

Layer Small plastered area on one stone

Plaster Many colours, lots of crystals Binder Slightly beige lime, little lime.

Filler Mainly rounded small particles 0.2-0.5

mm between medium sized 0.8-1 mm.

A few large 1.5-2 mm.

Compact : Black, pale grey, brown. Afew white.

Porous: Red.

Crystalline: Lots of crystals: black,

transparent uncoloured, grey and

yellow.

Stucco - Lime

Filler

Plaster type24:4

Group F

Comments

This plaster has similarities to plasters in group F – small

grains and many colours. To the same group belong

plasters used for Third style paintings in Casa del Frutteto

and Casa del Bell’Impluvio. Same group as EG 1A13 in

Casa degli Epigrammi Greci. This small plastered area of

plaster in group F indicates a later period in the Third

style or in the early period of the Fourth style.

Analyses -



144

V 1 23, Casa di Caecilius Iucundus, taberna 24

Sample no 5 Room 24b

Location South wall, on the west side of the

brick repair.

Decoration -

Layer Plastered area starting immediately to

the right of the brick repair.

Plaster Sandy brown plaster Binder Clean beige lime, enough.

Filler Large and small particles.

Compact : Black, grey, brown and

ochre. Porous: Red.Crystalline: Black.

Stucco - Lime

Filler

Plaster type 24:5

Group G

Comments

Crushed materials. Reused plaster. The plaster belongs

to a repair made after the earthquake of AD 62.

Analyses -



146

Casa V 3, 8

Sample no 1 Room Bath.

Location South wall, central part.

Decoration First style plasterwork.


Plaster Black and white, lots of crystals Binder Slightly beige with some lumps.

Filler Rounded and irregular, small grains 0.2-0.4

mm and 0.8-1.2 mm. A few larger.

Compact : Black and pale grey, some brown.

Black with red dots.

Porous: Red.Crystalline: Many black. Transparent grey,


Stucco - Lime

Filler

Plaster type V 3, 8:1

Group A (Ab)

CommentsThis plaster belongs to group A and has characteristics of

subgroups Aa and Ab. The main characteristic of this

plaster is that it has mainly black grains and contains lots

of crystals (pyroxenes), many of which are long angular

black, presumably augite. The small grain size and the

rounded volcanic grains are characteristic for plasters in

group Aa. The “salt and pepper” look of the plaster and

the angular crystals places the sample in subgroup Ab.

Same kind of plaster as used for First style decorations inCasa del Granduca Michele (GM1). Same group as First

style plaster in I 16, 5, samples 1-3.

Analyses -



151

VI 2, 4 Casa di Sallustius

Sample no 3 Location Room 16, sector SE.

Decoration Only plaster.

Layer Continuation of the foundation wall from theatrium in room 16 to south. Directly below thefinal pavement.

Plaster Black and white, rounded grains Binder Clean slightly beige lime with some lime lumps,

much. Filler Mainly rounded and irregular, small particles 0.2-

0.4 mm between medium sized 0.8-1 mm. A fewlarge.Compact : Mainly black and pale grey, a few

beige, brown and ochre. Porous: Red.Crystalline: Many black. Transparent grey,uncoloured, green.

Stucco - Lime Filler

Plaster type Sall 1Group A (Aa)

CommentsPlaster layer connected with the lower floor of terra battuta and

with the pozzo.

Same as Sall1 and 2.

AnalysesSample analysed at CNR/ICVBC.

Binder : Homogeneous, micritic lime. No lumps. Rounded pores. Aggregate: Rounded grains,

unimodal filler 700 µm- 1.5 mm. Composition: Fragments of pyroxenes, volcanic rock,feldspar. Proportion B/A: 1/3 -1/4 Similar to Sall1.



152

VI 2, 14 Casa delle Amazzoni

Sample no 1 Room 2, atrium.

Location North wall, towards room 8.

Decoration Red socle.

Layer Below the floor level of AD 79, covered by

two later decorations.

Plaster Brown plaster, small grains Binder Sandy lime with a few large lime lumps.

Enough.

Filler Angular and rounded, mainly very small

particles 0.1-0.3 mm, between medium sized

0.8-1 mm and large 1.5-2 mm in good

proportion.Compact : Mainly black, grey, and ochre.

Some beige and pale yellow.

Porous: Many small red.


uncoloured, yellow and orange.

Stucco 5 mm Lime Beige lime

Filler Black and red particles

Plaster type CA 1

Group 0

CommentsThe oldest structures of the house are dated to the Samnite

period in the first half of the third century BC.

This dark brown plaster belongs to the earliest decoration in the building. It is different from

all First style plasters investigated so far. The question was if this brown plaster belongs to the

same group of early plasters as found in Casa di Granduca Michele (GM11), and in Casa del

Centauro (CC5).

Analyses

Sample investigated at CNR/ICVBC. Binder : Homogeneous, micritic lime. No lumps. Few

pores. Aggregate: Angular and rounded grains, bimodal filler, prevailing 200-300 um,

secondary 1-2 mm. Composition: Fragments of pyroxenes, volcanic rock, feldspar, a few

carbonates and oxides. Proportion B/A: 1/3.

Similar to A52a in Casa di Amarantus, a layer below floor level. Similar to the inferior layer

of CC11b. (The intermediate layer of CC11b is similar to CC5). Pigment : The red pigment

was red ochre.



154


Sample no 3 Room 2, atrium. .


Decoration -

Layer Thin plaster layer applied on the white layer

with hack-marks.

Plaster Beige plaster, small particles Binder Beige lime, sandy, much.

Filler Mainly rounded, very small particles (0.1-

0.3mm), medium 0.8-1mm) and a few large

1.5-2 mm).

Compact : Mainly black and grey, some

brown and a few ochre. A few black with reddots.

Porous: Many red.



Stucco - Lime

Filler

Plaster type CA 3 Group 0

CommentsYet another beige plaster with small grains but with relatively little lime compared with CA2.

The filler contains more crystals than previous samples. This filler (but not the lime) is of the

same kind as that of EG 1B2, an early plaster in group A, subgroup Aa. Since this plaster and

the successive layer of decorated plaster are similar, they are interpreted as part of a plastering

technique and belong to the same period. The plaster type is CA3, which, due to the lime, is

more similar to CC5 group 0, than to CA4 group Aa.

Analyses

Sample investigated at CNR/ICVBC. Binder : Non homogeneous, micritic lime. No lumps.

Few pores. Aggregate: Angular and rounded grains, unimodal filler, 500-800 um.

Composition: Fragments of volcanic rock, pyroxenes, feldspar. Proportion B/A: 1/2-1/3.

Similar to CA4, which covers CA3, and similar to CA6, white decoration in room 8. Similar

to plasters CC5, to Venus 1 and to the intermediate layer of CC11b.



155


Sample no 4 Room 2, atrium


Decoration Second decoration, red socle.

Layer Layer that covers the first decoration and is

covered by one that is later.

Plaster Black and white, rounded grains Binder Beige lime, sandy, much.

Filler Mainly rounded, very small particles 0.1-0.3

mm between medium sized 0.8-1 mm and a

few large 1.5-2 mm.

Compact : Mainly black, pale and warm grey,

some brown and ochre grains. Porous: Many red.



Stucco - Lime

Filler

Plaster type CA 4

Group A (Aa)

CommentsThere are remains of red paint layer. The same kind of filler as CA3 but the plaster looks

different. Even though CA3 and CA4 are regarded as of the same phase, CA4 has more

similarities with plasters in group Aa than those in group 0.

Analyses

Sample investigated at CNR/ICVBC. Binder : Homogeneous, micritic lime. No lumps.

Medium pores, fissures. Aggregate: Rounded grains, unimodal filler 300-600 um.Composition: Mainly fragments of volcanic rock, pyroxenes, feldspar, sanidino. Proportion

B/A: 1/1-1/2.

Not identical but quite similar to CA3 and CA6.



157


Sample no 6 Room 8

Location East wall, close to the entrance towards the

atrium.

Decoration Remains of painted borders.

Layer Decoration built up in several layers,

continuing in the doorway with a slightly

rounded edge.

Plaster Black and white, rounded grains Binder Beige lime.

Filler Angular and rounded, very small particles,

0.1-0.3 mm, and 0.8-1 mm, and a few large

1.5-2 mm.Compact : Mainly black and pale grey, some

beige, brown, and ochre.

Porous: Many red.


uncoloured, and yellow.

Stucco - Lime

Filler

Plaster type CA4Group A (Aa)

CommentsThis decoration belongs to the same period as the second

decoration in the atrium.

Analyses

Sample analyzed at CNR/ICVBC. Binder : Nonhomogeneous, micritic lime. No lumps. No pores.

Aggregate: Angular and rounded grains, bimodal filler 400-

600 um and 1.5-2 mm, Composition: Fragments of volcanic

rock, pyroxenes, feldspar. Proportion B/A: 1/3.

Similar to CA3. Might be similar to CC5, the fragment is too small for definite classification.



158


Sample no 7 Room 4

Location South wall close to SE corner.

Decoration -


Plaster Many colours, lots of crystals Binder Clean white lime. Enough.

Filler Mainly rounded medium size particles 0.8-1

mm between small 0.5 mm and some large

1.5-2 mm.

Compact : Mainly black, pale grey, brown,

and ochre, some white and beige. Some large

beige “beans”, and some black with red dots. Porous: Red.



Stucco 2 mm Lime Clean white lime.


Plaster type CA 7

Group F

CommentsThis sample is the first in the house with clean white lime.

The characteristics, a rather fine-grained plaster with

kaleidoscopic filler and many crystals, make it possible to

assign the plaster to group F, used during the late Third style

and early Fourth style.

Analyses

Sample analyzed at CNR/ICVBC. Binder : Homogeneous, micritic lime. No lumps. Few pores. Aggregate: Rounded grains, unimodal filler 500-800 um. Composition: Mainly

fragments of volcanic rock, pyroxenes, some feldspar and two carbonates. Proportion B/A:

1/2-1/3.

Similar to plasters at insula I 9 and Forum, e.g. BI7, TA12, TV2, E6.



159


Sample no 8 Room 4

Location South wall close to SW corner.

Decoration -

Layer First layer on the wall, covered by a later

decoration (CA 9).

Plaster Black and white, rounded grains Binder Beige lime with some lumps. Enough.

Filler Mainly rounded, medium size particles 0.8-1

mm between small 0.5 mm and some large

1.5-2.5 mm.

Compact : Mainly black and grey. Some pale

beige, brown and ochre. A few black withred dots.

Porous: Red.

Crystalline: Black. Transparent grey,


Stucco - Lime

Filler

Plaster type CA 4Group A (Aa)

CommentsYet another beige-brown plaster.

In spite of the beige lime it looks the same as EG 1B2. This

may be a clean variety of CA4.

Analyses -



160


Sample no 9 Room 4

Location West wall close to SW corner.

Decoration Last decoration on the wall.

Layer Layer covering CA 8.

Plaster Many colours, lots of crystals Binder Clean white lime.

Filler Rounded and irregular, small particles 0.5

mm between medium sized 0.8.1 mm and a

few large 1.5-2.5 mm.

Compact : Mainly black and pale grey, some

beige, brown and white. Beans.



Stucco 3 mm.

Lime White lime.


Plaster type CA 7Group F

CommentsSame kind of plaster as CA7. Same kind of plaster as used

for the redecoration in room 4. The plaster type was used

for late decorations in the late Third and early Fourth style

Analyses -



161


Sample no 10 Room Fragment found in room 4.

Location Saggio C2, US 2.

Decoration Red panel, white recessed border.

Layer Decorated layer.

Plaster Black and white, rounded grains Binder White, slightly beige with inclusion of small

particles. Enough.

Filler Mainly rounded, small particles 0.2-0.8 mm,

between some large 1-1.5 mm.


brown and ochre.



Stucco 6 mm Lime Creamy white lime.


Plaster type CA 4Group A (Aa)

CommentsThis sample looks like a normal plaster in group A. Same as CA8, the earliest decoration

period in the room where this fragment was found.

Analyses -



162


Sample no 11 Room 2, atrium.

Location North wall, towards room 8, at the height of

approximately 1 m.

Decoration Last decoration on the wall.

Layer Layer covering CA 4.

Plaster Many colours, lots of crystals Binder Clean white lime.

Filler Mainly rounded, small particles 0.5 mm

between medium sized 0.8.1 mm and a few

large 1.5-2.5 mm.


beige, brown and white. Porous: Red.



Stucco -

Lime

Filler

Plaster type CA 7

Group F

CommentsThe weathered sample is very thin, and most of the fine

grains have been washed out. There are remains of fine

grains on the inferior side of the sample. The lime is

decayed. Same kind of filler as CA7. Late Third or early

Fourth style.

Analyses -



163


Sample no 1 Location Room 9b, south wall.

Decoration Yellow decoration.

Layer Plaster layer on clay, opus formaceum.

Plaster Black and white, lots of crystals Binder Clean white lime with some lumps. Much.

Filler Angular and rounded, small particles, 0.5-0.8

mm between medium size 1.5-1.8 mm.

Compact : Black, pale grey, a few beige and

brown. Some black with red dots.

Porous: Small red.


uncoloured, green.Stucco 5 mm

Lime “Pink stucco”.

Filler Red and black particles

Plaster type GM 1

Group A (Ab)

CommentsRoom 9b is a corridor, an oecus in the Samnite house, the

protocasa, period II phase 2 (middle of the 2nd century BC).

It is situated between the tablinum and the room with the

raised floor level. The yellow socle is a common feature of

the period.

This kind of plaster was used for First style decorations in

e.g. Casa del Centauro, the yellow socle in cubiculum 2.

AnalysesSample analysed at CNR/ICVBC. Binder : Non homogeneous, micritic lime. Lime lumps.

Medium pores. Aggregate: Angular grains, bimodal filler 200-400 µm and 1-2 mm.Composition: Fragments of cocciopesto, pyroxenes, and volcanic rock. The pink stucco

contains cocciopesto. Proportion B/A: 1/1-1/2.

Similar to CC1.



164


Sample no 2 Location Room 9b, US 97, close to the SE corner.

Decoration -

Layer Preparation layer?

Plaster Beige plaster, small grains Binder Lime, and probably clay.

Filler Angular and rounded grains 1-2 mm. Lots of

very small yellow ochre grains.

Compact : Black, pale grey, pale yellow,

ochre.

Porous: Red.

Crystalline: Very small crystals, uncoloured

and yellow.Stucco -

Lime

Filler

Plaster type GM 2

Group 0

CommentsThis plaster or preparation layer is situated below the level

of period II phase 2, most probably representing period II,

phase 1 (end of the 3rd century BC).

AnalysesSample analysed at CNR/ICVBC. Binder : Non

homogeneous, micritic lime. No lumps. Few pores.

Aggregate: Angular, unimodal filler 1-2 mm. Composition:

Fragments of volcanic rock, pyroxenes, feldspar. Proportion

B/A: 1/1.

Similar to GM11. The filler is similar to CA2. The brown colour of the lime indicates that

earth might have been mixed into it. No oxides were identified in the sample.



165


Sample no 3 Location Peristyle, US 125.

Decoration -

Layer Fragment with black surface.

Plaster Dark brown with inclusions Binder -

Filler Small particles 0.2-0.4 mm between medium

0.8-1 mm and large 1.5-2 mm.

Compact : Black, pale grey, brown, ochre.

Porous: Red.

Crystalline: Black, transparent uncoloured.

Stucco -

Lime Filler

Plaster type -

Group X brick

CommentsDA: The fragment was found in the peristyle in the filling

under the wall which is the foundation for the columns. The

foundation probably dates to the beginning of the 1st

century BC. (Riempimento della fossa di fondazione (inizio

1o secolo aC) dello muro cui si fondano le colonne del

peristilio). Could this be part of a pavement?

AnalysesSample analysed at CNR/ICVBC. Brick, laterizio.



166


Sample no 4 Location Room 9c, south wall, near south-east corner.

Decoration -

Layer Below the floor level of the Samnite house

period II phase 2, and is covered by the

decoration of period II phase 2 (GM 5).

Plaster Black and white, rounded grains Binder White lime, little, some small lime lumps.


mm between medium 0.8-1 mm and a few

large 1.5-3mm.

Compact : Black, pale grey, and a few brown.

Porous: Red.Crystalline: Many crystals. Small black,


yellow.

Stucco 5 mm Lime “pink stucco”.

Filler Red and black grains.

Plaster type GM 4

Group A (Aa)

CommentsThis layer continues below the Samnite floor period II

phase 2. It is covered by a plaster layer with yellow

decoration like the socle in room 9b. This plaster belongs

to the same group as used for the First style decorations at

the Temple of Apollo at the Temple of Jupiter for the first

phase in Casa di Sallustius, and in Casa degli Epigrammi

Greci.

AnalysesSample analysed at CNR/ICVBC. Binder : Non

homogeneous, micritic lime. No lumps. Few pores,

rounded. Aggregate: Rounded grains, unimodal filler 500-

800 µm. Composition: Fragments of volcanic rock,

pyroxenes, feldspar. Proportion B/A: 1/3.

Similar to TA1/TA2, Sall 1, CC11b at the intermediate

level. Similar to Venus 4. Similar composition as TA2,

different distribution of grain sizes.



167


Sample no 5 Location Room 9c, south wall, south-east corner.

Decoration Yellow socle.

Layer Layer that covers GM4, which is the first

decoration phase in the Samnitic house.

Plaster Black and white, lots of crystals Binder White lime, much.

Filler Angular and rounded, small particles 0.8-1

mm and medium size 1.5-2mm.

Compact : Black, pale grey, beige and brown.

Black with red dots..

Porous: Red.

Crystalline: Many black. Transparent grey,uncoloured, green and yellow.

Stucco 5 mm Lime “Pink stucco”.


Plaster type GM 1

Group A (Ab)

CommentsThe decoration is contemporary with the Samnite floor,

period II phase 2).

Same kind of stucco as GM 1.

Analyses -



168


Sample no 6 Location 1, fauces, south wall

Decoration White decoration at the pillar ( stipite).

Layer White stucco.

Plaster Black and white, rounded grains Binder Clean lime, slightly beige with white lumps.

Filler Mainly rounded, very small grains 0.2-0.4

mm between medium 0.8-1 mm. A few large

1.5-2 mm.Compact : Black, pale grey, and a few beige

and brown.

Porous: Red.

Crystalline: Many black. Transparent grey,uncoloured, yellow and green.

Stucco 8 mm Lime Beige.


Plaster type GM 4

Group A (Aa)

CommentsThe layer continues behind the yellow decoration on the

wall. The pillar and the socle belong to the same period,

period II, phase 2.

Analyses -



169


Sample no 7 Location Room 1, fauces, south wall.

Decoration Yellow decoration

Layer -

Plaster Beige plaster, small particles Binder Beige lime.

Filler Mainly rounded, small sized particles 0.3-0.4

mm between medium 0.8-1mm some large

1.5-2 mm.

Compact : Black, grey, some beige and

brown.

Porous: Red.

Crystalline: Black, transparent uncoloured,green.

Stucco 4 mm Lime “pink stucco”.

Filler Red and black particles.

Plaster type GM 7

Group X repair

CommentsDora: “The pillar and the wall decoration belong to the

same phase. There are, however indications that the wall

decoration was repaired during antiquity, and therefore the

wall plaster may be different to the pillar plaster.”

“The repair was probably made in period II phase 2 or 3”.

The sample was taken from an area that may be a repair. It

mainly consists of pink stucco, but the plaster is similar to

an early plaster in Casa delle Amazzoni (CA 3), and to

sample GM 19.

The repaired area is not visible on this photo, but situated further west along the wall.

AnalysesSample analysed at CNR/ICVBC. Binder : Homogeneous, micritic lime. One lime lump.

Medium pores. Aggregate: Angular, bimodal filler 100 µm and 400 µm. Composition:

fragments of volcanic rock. Proportion B/A: 1/2.

Not similar to any other plaster in this house.



170


Sample no 7 (new sample) Location Room 1, fauces, south wall.

Decoration Yellow decoration. Layer The layer butts against the white stucco

pillar.

Plaster Black and white, rounded grains Binder Clean lime, slightly beige with white lumps.


mm between medium 0.8-1 mm. A few large1.5-2 mm.

Compact : Black,pale grey, and a few beige

and brown.

Porous: Red.


uncoloured, yellow and green.

Stucco 8 mm Lime Beige.


Plaster type GM 4

Group A (Aa)

CommentsThe pillar and the wall decoration belong to the same phase.

There are, however indications that the wall decoration was

repaired during antiquity, and therefore the wall plaster may

be different to the pillar plaster.

The repair is not at this part of the wall, it is situated further

along the wall towards west.

Analyses -



171


Sample no 8 Location Room 5, north wall, north-east corner.


Layer 2 layers, the upper with decoration.

Plaster Black and white, rounded grains Binder Slightly beige with some lumps.

Filler Mainly rounded, small particles 0.2-0.4 mm

between medium size 0.8-1 mm, and a few

large 1.5-2 mm.

Compact : Black, pale grey, brown and a few

ochre. Black with red dots.

Porous: Red.


Stucco 3 mm Lime “Pink stucco”.


Plaster type GM 4

Group A (Aa)

CommentsAccording to D. D’Auria, there is a yellow socle in all

rooms in the Samnite period of the house. Period II, phase

2.

Analyses -



172


Sample no 9 Location Room 1, fauces.

Decoration -

Layer Waterproof layer in the canaletta.

Plaster Waterproof Binder

Filler Rounded, 0.1-0.3 mm, 1.5.2 mm.

Compact :

Porous:

Crystalline:

Stucco - Lime

Filler

Plaster type -Group X waterproof

CommentsThe fragment has four layers: at the top a glassy grey

plaster, in the middle cocciopesto, below which is a glassy

lime with black particles and, at the lower level, beige

plaster with many yellow grains.Question: what is the nature of the glassy material?

Fig 1, above: the fragment.

Fig.2, in the middle: detail.

Fig.3, below: the sample partially wet by preparation.

AnalysesSample analysed at CNR/ICVBC. Cocciopesto layer. Binder : Non homogeneous,

microsparitic lime. No lumps. Few pores. Aggregate: rounded, irregular, bimodal filler 100-

300 µm and 1.5-2 mm. Proportion B/A: 1/2.The grey, glassy layer: Binder : Homogeneous, micritic lime. No lumps. Few pores.

Aggregate: Rounded grains, unimodal filler 800 µm to 1.5 mm. Composition: fragments of

volcanic rock. Proportion B/A: 1/2-1/3. SEM analyses of the internal and external layers of

the sample anomalous amounts of phosphorous at the external level, which might linked to

the water flow in the channel. The presence of silica is attributable to the binder which is

hydraulic lime. From the chemical point of view there is nothing that explains the texture of

this sample. It may hypothetically be a cause of contact with heat.



173


Sample no 10 Location Room 5, floor in the south-east quarter of the

room.

Decoration -

Layer opus graecanicum

Plaster opus graecanicum Binder

Filler

Compact :

Porous:

Crystalline:

Stucco Lime

Filler

Plaster type -

Group X graecanicum

Comments

Two containers with samples from the floor.1: black = cenere, carbone, calce? = cenere, carbone. Calce?

2: white = lime or stone? = Lime, battuto.

The analyses confirm two layers, the paler of which

consists of lime and aggregate, that is lime plaster. There

are ashes in the dark top layer. The sample illustrates the description of Vitruvius on how to

make floors for winter triclinia.

AnalysesSample analysed at CNR/ICVBC.

Dark layer: Binder : non homogeneous, microsparitic lime. No lumps. Few pores. Aggregate:Fragments of pozzolana, pyroxenes, feldspar, sparitic carbonate, cocciopesto, fibres.

Pale layer: Binder : Non homogeneous, microsparitic lime. No lumps. Few pores. Aggregate:

Pyroxenes, fragments of volcanic rock, feldspar. Proportion B/A: 1/1.



174


Sample no 11 Location Room 5, US 27

Decoration

Layer Fragment found in the preparation for

graecanicum floor

Plaster Beige plaster, small grains Binder Slightly beige lime.

Filler Angular and rounded, small particles 0.1-0.2

mm, between medium 0.5 mm and some

large 1-1.5 mm.

Compact : Black, brown, pale grey, some

pale yellow and ochre.

Porous: Many red.Crystalline: Transparent grey and

uncoloured.

Stucco - Lime

Filler

Plaster type GM 2

Group 0

CommentsFragment found in the preparation for the battuto pavement US 21, i.e. below the layer of

opus graecanicum sample 10.

21------------------------ graecanicum

26------------------------ preparazione

27------------------------riempimento di calcare

Same as GM2. To the same group belongs an early plaster in Casa del Centauro (CC5).

AnalysesSample analysed at CNR/ICVBC. Binder : Homogeneous, microsparitic lime. No lumps.

Many pores. Aggregate: Angular and rounded grains, bimodal filler 400-600 µm and 1-2

mm. Composition: pyroxenes, fragments of volcanic rock, feldspar. Proportion B/A: 1/2.

Similar to CA2 (layer between first phase and First style plaster).



175


Sample no 12 Location 2, atrium.

Decoration Ceiling, yellow decoration, cubic pattern

Layer Fragment.

Plaster Black and white, lots of crystals Binder Clean white lime, more than needed.

Filler Angular and rounded, mainly small particles,

0.8-1 mm and some large 1.5-2 mm.

Compact : Black, pale grey and brown.

Porous: Small red.

Crystalline: Lots of crystals, long black,

transparent grey, uncoloured green and

yellow.Stucco -

Lime

Filler

Plaster type GM 1

Group A (Ab)

CommentsAccording to D. Dauria, the fragment presumably belongs

to the second phase of the house (Phase II b), before the

floor level was raised in the second half of the second

century BC. The fragment belongs to a group of fragments

with cubic pattern.

No stucco on the sample.

The same kind of plaster was used for First style decorations in Casa del Centauro (CC1), and

Casa di Amarantus (A1).

Same as GM1.

Analyses -



176



Decoration Ceiling, blue decoration.

Layer Fragment.

Plaster Black and white, rounded grains Binder White lime with small lumps.


between medium 0.8-1 mm and a few larger.


brown. Black with red dots.

Porous: Red.


uncoloured, green, and yellow.Stucco -

Lime

Filler

Plaster type GM 4

Group A (Aa)

Comments No stucco on the sample. Good proportion lime and filler,

good proportion grain sizes. Same as GM4.

The fragment belongs to a group of fragments with cassette

decoration. At the centre there is a rose. The motif is

common in the Hellenistic period. The plaster on this

fragment is indicative for period II, phase 2.

Analyses -



177


Sample no 14 Location Room 9A.

Decoration Ceiling decoration with remains of

red paint.

Layer Fragment.

Plaster Black and white, rounded grains Binder White lime with small lumps.


between medium 0.8-1 mm and a few larger.



Porous: Red.

Crystalline: Many black. Transparent grey,uncoloured, green, yellow and orange.

Stucco - Lime

Filler

Plaster type GM 4

Group A (Aa)

Comments No stucco on the sample. Small grains. Same as no 13.

The fragment belongs to a group of fragments from a

decorated ceiling.

Analyses -



178



Decoration Wall decoration, marble imitation in various

shades of yellow ochre.

Layer Fragment.

Plaster Black and white, lots of crystals Binder White lime, much.

Filler Angular and rounded, mainly small particles

0.5-0.8 mm between medium size 1.5-1.8

mm.

Compact : Mainly black, some pale grey, a

few brown.

Porous: Very small red.Crystalline: Mainly long black, some


yellow.

Stucco - Lime

Filler

Plaster type GM 1

Group A (Ab)

Comments No stucco on the sample. The sample has characteristics of

GM 1 and GM4.

Analyses -



179



Decoration Wall decoration. Panel fragment with red

recessed border. Marble imitation.

Layer Fragment.

Plaster Black and white, lots of crystals Binder Creamy white lime, much.

Filler Angular and rounded, mainly small particles

0.2-0.5 mm between medium size 1-1.5 mm.

Compact : Black, pale grey, some brown.

Black with red dots

Porous: Small red.Crystalline: Many black. Transparent grey,


Stucco - Lime

Filler

Plaster type GM 1Group A (Ab)

Comments No stucco on the sample. The plaster is similar to GM4,

rounded and irregular grains, and to GM1, lots of black

crystals. More similar to GM1 than to GM4.

Analyses -



180



Decoration Cornice, Lesbian cymatium with painted

decoration in violet and ochre.

Layer Fragment.

Plaster Black and white, rounded grains Binder Creamy white lime with white lumps.

Filler Angular and rounded mainly small particles


mm.


brown.



Stucco - Lime

Filler

Plaster type GM 4

Group A (Aa)

Comments No stucco on the sample. The sample was placed in

subgroup Ab due to the clean white lime and the many

crystals, some of which are angular.

Question: Could this be plaster of the same kind as GM4?

There are similarities with sample GM1 as well as sample

GM4. Re-checking samples, most similar to GM17 is GM20, which is of the same kind as

GM4. Samples 15, 16, 17 and 18 have characteristics of two types. Both types belong to

group A (First style), subgroups Aa and Ab.

Analyses -



181



Decoration Wall decoration, green panel. White line and

violet at one edge.

Layer Fragment.

Plaster Black and white, lots of crystals Binder Creamy white lime. Much.

Filler Irregular and rounded, mainly small particles


mm.





Stucco - Lime

Filler

Plaster type GMGroup A (Ab)

Comments No stucco on the sample. Characteristics of Aa as well as

Ab.

Analyses -



182


Sample no 19 Location Room 7, ala.

Decoration

Layer First layer on the wall, below the floor level

period II, phase 2, covered by GM 20. The

layer continues behind the yellow wall

decoration.

Plaster Black and white, rounded grains Binder Unclean lime with white lime lumps.

Filler Angular and rounded very small grains

between medium sized 0.5-1mm and some

large 1.5-2 mm.

Compact : Mainly black, pale grey. Porous: Very small red, few.

Crystalline: Lots of crystals. Long black.

Some transparent grey and uncoloured.

Stucco - Lime

Filler

Plaster type GM 2

Group 0

Comments

The composition of the filler resembles GM4. The dark colour resembles CA2 and CC5, early

beige/brown plasters. The plaster might be of type 0 as well as of type Aa. Based on relative

chronology my choice is to place the sample in group 0. Laboratory analyses would provide

an answer.

Analyses -



183


Sample no 20 Location Room 7, ala.

Decoration Layer with white stucco, covering GM 19.

Layer Last decoration, below floor level.

Plaster Black and white, rounded grains Binder Slightly beige lime, little.


mm between medium 0.8-1 mm and some

large 1.5-3 mm.

Compact : Black, pale grey, some beige, and

brown.

Porous: Red.

Crystalline: Many black. Transparent grey,uncoloured, yellow and orange.

Stucco - Lime

Filler

Plaster type GM 4

Group A (Aa)

Comments

No stucco on the sample. Therer is a mistake with the

indication of sampling spot on this photo: the arrow should

point at the layer with decoration.

Analyses -



184


Sample no 1 Location cubiculum 2, west wall, at the centre of the

wall.

Decoration 1st style decoration. Layer Decorated layer below raised floor and

connected with the pavement of the Samnite

house.

Plaster Black and white, lots of crystals Binder Clean white lime.

Filler Angular and rounded, mainly very small

grains 0.2-0.5 mm, medium 0.8-1.2 mm and a

few large 1.5-2 mm. Good proportion

between lime and filler, and between largeand small grains.

Compact : Mainly black and pale and warm

grey.

Porous: Red.

Crystalline: Lots of black. Transparent

uncoloured, grey, green and yellow.

Stucco 3 mm

Lime Slightly beige lime

Filler Lots of small red particles and some small

crystals.

Plaster type CC 1

Group A (Ab)

CommentsYellow socle, 3rd century BC. The decoration belongs to the

period before the floor was raised in middle of the 2nd

century. This plaster presumably belongs to the first phase

of the house. It is different to CC2. The filler has very small

grains, angular and rounded, few large, lots of black crystals.

Same group as GM1, sample from a yellow decoration on opus formaceum (Samnite period),

room 9b, in Casa di Granduca Michele.

AnalysesSample analysed at CNR/ICVBC. Binder : Homogeneous, micritic lime. No lumps. Few

pores. Aggregate: Angular and rounded grains, bimodal filler100-200 um and 1 mm.

Composition: fragments of volcanic rock . Proportion B/A: 1/3.

Similar to GM1 and A1. Pigment : Yellow and red ochre. The paint was applied in one layer in

which a few grains are visible.



185


Sample no 2 Location cubiculum 3, (anticamera) west wall, close to

the pillar at the entrance to the alcove.

Decoration 1st style decoration Layer At the cornice.

Plaster Black and white, large grains Binder Clean white lime with small lumps. More

lime than needed in confront to the filler.

Filler Mainly medium sized, rounded grains 0.8-1.2

mm, some 0.2-0.5 mm, a few large 2-3 mm.

Top layer: mainly crystals.

Compact : Mainly black, pale grey, some

beige, and brown. A few black with red dots. Porous: Very small red.

Crystalline: Many black. Transparent

uncoloured, grey and yellow crystals.

Stucco 3 mm

Lime White.

Filler Very small transparent uncoloured crystals.

Plaster type CC 2

Group B

CommentsDecoration dated to the last quarter of the of 2nd Century

BC, at the time when the two properties were joined to a

double atrium complex with double peristyle.

The sample was taken at the cornice. The same kind of

plaster was used for First style decorations at the Basilica (B

1) and at the Casa del Bell’Impluvio (BI 1). The Basilica

decoration is, by reason of a well-known graffiti, dated to ca 78 BC.

AnalysesSample analysed at CNR/ICVBC. Binder : Homogeneous, micritic lime. No lumps. Few

pores. Fissures. Aggregate: Irregular and rounded grains, unimodal filler 500 µm to 1 mm.

Composition: fragments of volcanic rock, pyroxenes, dolomite. Proportion B/A: 1/2.

Similar to BI 1 and B 1.



186


Sample no 3 Location cubiculum 3, alcove, west wall, close to the

pillar at the entrance to the anticamera.

Decoration 1st style decoration. Layer At the cornice.

Plaster Black and white, large grains Binder Clean white lime with small lumps. Much.

Filler Mainly rounded, medium sized particles 0.8-

1.2 mm, some 0.2-0.5mm and large 2-3-mm.

Compact : Mainly black and pale grey grains,

a few beige and brown. Black with red dots.

Porous: Red.

Crystalline: Lots of black Transparentuncoloured, grey, and a few small yellow

crystals.

Stucco - Lime

Filler

Plaster type CC 2

Group B

CommentsSame kind of plaster as CC 2.

Analyses -



187


Sample no 4 Location cubiculum 3, alcove, south wall.

Decoration No decoration.

Layer First layer on the wall, remains of plaster.

Plaster Black and white, large grains Binder Clean white lime, much.

Filler Mainly rounded, medium sized particles 0.8-

1.2 mm, large 2-3-mm, and a few 0.2-0.5

mm.

Compact : Black, pale grey, beige, brown. 1

very large grey 5 mm.

Porous: Small red

Crystalline: Many black. Transparent grey,uncoloured, and yellow.

Stucco - Lime

Filler

Plaster type CC 2

Group B

CommentsSame as CC 3.

Analyses -



188


Sample no 5 Location Room 15, west wall.

Decoration Plaster and stucco.

Layer Layer with decoration blocked behind northwall (south wall in cubiculum 3).

Plaster Grey plaster, small grains Binder grey lime with white lime lumps. Top layer:

white lime.

Filler very small particles 0.1-0.2 mm, some 1-1.5

mm, a few 2-2.5 mm.

Compact : mainly rounded black, grey, some

brown, pale yellow and yellow ochre.

Porous: red.Crystalline: black, transparent uncoloured

olive green and yellow.

Stucco 5 mm Lime white lime

Filler large and small crystals.

Plaster type CC 5

Group 0

CommentsGrey plaster. Good proportion between large and small

particles. There are two layers. The first applied (ca 8 mm)

has grey lime and the top layer (ca 3 mm) has white lime.

The filler of the top layer, with much lime, slightly

resembles CC1.

The decoration in room 15 is connected with the original

floor level, while the decoration in cubiculum 3 is

connected with a raised floor. The plaster in room 15 was

expected be of the same kind as in cubiculum 2 (CC1), but

it is not.

AnalysesSample investigated at CNR/ICVBC. 3 layers. Inferior:

Binder : Homogeneous, micritic lime. No lumps. Few pores. Aggregate: angular and rounded

grains, bimodal filler 800-600 µm and 300-400 µm. Composition: fragments of volcanic rock,

pyroxenes and one carbonate. Proportion B/A: 1/3. Intermediate: Binder : Homogeneous,

micritic lime. No lumps. Few pores. Aggregate: angular and rounded grains, bimodal filler

1000-800 µm and 300-400 µm. Composition: fragments of pyroxenes (prevailing), volcanic

rock, silicates. Proportion B/A: 1/2. Superior: lime.

The intermediate layers of CC5 and CC11b are similar. Similar to CA3, Casa delle Amazzoni.



189


Sample no 6 Location Room 5B, north wall.


Layer Layer behind the opus incertum wall betweenrooms 5B and 5C.

Plaster Black and white, lots of crystals Binder White, slightly beige lime with some lumps.

Filler Angular and rounded, very small grains 0.2-

0.5 mm, medium 0.8-1mm and a few large

1.5-2mm.

Compact : Mainly black and warm grey.


Porous: Small red.Crystalline: Lots of long black. Transparent

uncoloured, grey, green and yellow.

Stucco 3 mm Lime Creamy white.

Filler Very small calcite crystals.

Plaster type CC 1

Group A (Ab)

CommentsThe opus incertum wall belongs to the period of the domus

of the 2nd century BC, therefore this layer must be earlier.

Very small grains. Very similar to CC1, but more black

particles, angular and rounded. Same as CC11a, 12, 15, 16,

18.

Analyses -



190


Sample no 7 Location Room 32, north-west corner.

Decoration -

Layer Layer covered by no. 7b.

Plaster Black and white, large grains Binder Clean lime, much.

Filler Mainly rounded medium size particles 0.8-

1.5 mm. Some small 0.2-0.5 mm, and some

large 2-2.5 mm.


beige and brown. Black with red dots.

Porous: Red.

Crystalline: Black. Transparent uncolouredand grey crystals

Stucco - Lime

Filler

Plaster type CC 2

Group B

CommentsLarge grains. Same as CC2, 3 and 4. The same kind of

plaster as used for the decoration of cubiculum 3 with

alcove.

Analyses -



191


Sample no 7b Location room 32, north-west corner.

Decoration

Layer Layer covering 7a.

Plaster Black and white, large grains

Binder White lime, much.

Filler Filler : Mainly medium size particles 0.8-1.5

mm, some small 0.2-0.5 mm, and large 2-2.5

mm.


beige and brown.

Porous: Red.

Crystalline: Black. Transparent uncolouredand grey crystals.



Plaster type CC 2

Group B

CommentsSame as CC3.

Analyses -



192


Sample no 8 Location Room 32, north-east corner.


Layer Last decoration.

Plaster Black and white, large grains Binder Clean white lime with beige lumps. Much.

Filler Mainly medium size particles 0.8-1.5 mm,

some small 0.2-0.5 mm, and large 2-2.5 mm.

Compact : Mainly black and pale grey. A few

beige and brown.

Porous: Red.

Crystalline: Black and transparent grey, and

uncoloured crystals.Stucco 4 mm Lime White lime.


Plaster type CC2

Group B

Comments

The sample consists of small fragments.

Analyses -



193


Sample no 9 Location Room 16, Corinthian atrium, west wall, socle, at

the level of the floor.

Decoration Black decoration. Layer

Plaster Grey plaster, small grains Binder Slightly beige lime. Filler Mainly rounded very small grains 0.1-0.4 mm

between medium size 0.5-0.8 mm. A few large1.5 mm.Compact : Mainly black, pale and warm grey. A

few ochre. Porous: Red.

Crystalline: Black, transparent grey,uncloured and a few green, yellow and orange.

Stucco 9 mm Lime White lime. Filler Small and large calcite crystals.

Plaster type CC5

Group 0

Comments Same group as CC5.

Analyses -



195


Sample no 11a Location 1, fauces.

Decoration Black with a red stripe.

Layer Fragment found below raised floor.


Filler Angular and rounded small particles 0.5-0.8 mm between medium size 1.2-1.5 mm. A few large.Compact : Mainly black, pale and warm grey anda few brown. Porous: Small red.

Crystalline: Many long black.Transparent uncoloured, grey and green.


Plaster type CC 1

Group A (Ab)

CommentsThe fragment was found in the filling for the raised floor at the

level of the 4th - 3rd century BC. It may be from the most antiquedecoration.

There is no paint layer on the sample, just plaster and preparation

for paint layer. It is of the same kind as CC1 and CC6. Same

period as the yellow socle in cubiculum 2.

Analyses -



196


Sample no 11b Location 1, fauces.

Decoration Red decoration

Layer Fragment found below the raised floor

Plaster Grey plaster, small grains Binder Grey lime with white lime lumps. Top layer:

white lime.

Filler Mainly rounded very small particles 0.1-0.2

mm and some 1-1.5 mm, a few large 2-2.5

mm.

Compact : Mainly black, grey, some beige

and brown, and a few ochre.

Porous: Red.

Crystalline: Black, transparent uncoloured,

green, yellow and orange.

Stucco 1-2 mm Lime White lime. Filler No crystals.

Plaster type CC 5

Group 0

CommentsThis fragment was found in the same stratum as the fragment,

sample 11a. The fragments have different kinds of decoration

and the plasters look different too. This plaster resembles plaster

type CC5. Same group as CC5. In the archaeological

documentation is mentioned fragments with red decoration in

period III phase 1, nucleo I. This fragments plaster type fits with

the period: plaster CC5 and the motif a onda belong to the same

period.

Analyses

Sample analysed at CNR/ICVBC. Three layers.Inferior: Binder : Homogeneous, micritic lime. No lumps. Few pores. Aggregate: Rounded

grains, bimodal filler 200-600 µm and 1-1.5 mm. Composition: fragments of pyroxenes,

volcanic rock, feldspar. Proportion B/A: 1/3. Intermediate: Binder : Non homogeneous,

micritic lime. No lumps. Few pores. Aggregate: rounded grains, unimodal filler 200-600 µm.

Composition: fragments of volcanic rock, pyroxenes. Proportion B/A: 1/1-1/2. Superior:

Binder : Non homogeneous, micritic lime. No lumps. Few pores, fissures. Aggregate: angular

grains, bimodal filler 100-200 µm and 800 µm – 1 mm. Composition: cocciopesto. Proportion

B/A: 1/1. The intermediate layers of CC11b and CC5 are similar. Similar to CA1, inferior level. SEM

analyses revealed precense of silica that may indicate the binder is slightly hydraulic.



198


Sample no 13 Location Room 4, atrium.

Decoration Wall decoration, “a onda”.

Layer Fragment.

Plaster Grey plaster, small grains Binder Grey lime. Filler Mainly rounded, small and large particles.

Compact : Mainly black and grey, some beige and brown. Porous: Small red.Crystalline: Many black. Transparent grey,uncoloured, green, yellow and orange.

Stucco 1-2 mm

Lime Clean lime. Filler No crystals.

Plaster type CC 5

Group 0

CommentsCC13 top same as CC17. This kind of motif should be dated to

mid-samnitic period around late 4th century-beginning of 3rd

century BC. Same group as CC5. This fragment belongs to

period III, phase 1, nucleo II. Period III is in the middle Samnite

period between of the 4th and the beginning of the 3rd century

BC.the end

AnalysesSample analysed at CNR/ICVBC. Binder : Micritic –

microsparitic lime. No lumps. Few pores. Aggregate:

Rounded and angular grains, unimodal filler 800-1000 µm.

Composition: fragments of pyroxenes (prevailing), volcanic rock, lava and pyroclasts.

Proportion B/A: 1/3-1/4.

Similar to CC5, CC11b, CA3, GM4.



199


Sample no 14 Location cubiculum 5C

Decoration Wall decoration, “a fasce”, red, white, black.

Layer Fragment.

Plaster Grey plaster, small grains Binder Slightly grey lime

Filler Large and small particles

Compact : Mainly black and pale grey. Some

brown.

Porous: Red.



Stucco - Lime

Filler

Plaster type CC 5

Group 0

Comments No stucco on the sample.CC13 and 14 are of the same kind as CC5. The fragment that

was placed in nucleo IV (period III, phase 2, end of the 3rd

century BC) has a plaster that belongs to the same group as CC5.

Analyses -



200


Sample no 15 Location cubiculum 5B

Decoration Ceiling fragment, white decoration.

Layer Fragment.

Plaster Black and white, lots of crystals Binder Clean white lime,much.

Filler Angular and rounded, mainly small grains. A

few large.

Compact : Mainly black and pale grey.

Porous: Red.


uncoloured, green, and yellow.

Stucco - Lime

Filler

Plaster type CC 1

Group A (Ab)

Comments No stucco on the sample. Same period as the yellow socle incubiculum 2.

Analyses -



201



Decoration Ceiling decoration, blue.

Layer Fragment.

Plaster Black and white, lots of crystals Binder Clean white lime, much.

Filler Angular and rounded very small particles

Compact : Mainly black and pale grey.

Porous: Small red.



Stucco 8 mm

Lime White lime. Filler Small calcite crystals.

Plaster type CC 1

Group A (Ab)

CommentsSame period as the yellow socle in cubiculum 2.

Analyses -



202


Sample no 17 Location Atrium 4

Decoration Wall decoration, white with black and red

bands, and with an impressed line “cordino”.

Layer Fragment.


Filler Angular and rounded, small particles.

Compact : Mainly black. A few pale grey and

brown.

Porous: Red.


uncoloured, green and yellow.Stucco 3 mm

Lime Pink stucco.

Filler

Plaster type CC 5

Group 0

CommentsThe sample is similar to CC11b which belongs to the same group

as CC5, but also has similarities with CC1, e.g relatively clean

lime, many crystals. The fragment was placed in nucleo IV (end

of the 3rd

century BC), in a group of fragments painted in red,

black and white.

AnalysesSample analysed at CNR/ICVBC. Binder : Micritic lime. No lumps. Few pores. Aggregate:

Angular and rounded grains, bimodal filler 1000-800 µm, and 100-200 µm. Composition:

fragments of volcanic rock, pyroclasts, silicate (sanidino). Proportion B/A: 1/2.

Similar to CC5.



203



Decoration White panel with recessed yellow border.

Layer Fragment.



mm, 1-1.5 mm, and a few 3-4 mm.

Compact : Black, pale grey, a few brown.

Porous: Red.

Crystalline: Black, transparent grey, green

and yellow.

Stucco - Lime

Filler

Plaster type CC 1

Group A (Ab)

Comments No stucco on the sample. The fragment belongs to a group of yellow and white fragments placed in nucleo III, (end of the 3

rd

century BC). The decoration was part of space E in the protocasa, now room 5B, with yellow socle and white main zone.The plaster is of the same kind as on the yellow socle in

cubiculum 2.

Analyses -



204


Sample no 1 Room c

Location West wall.

Decoration Yellow socle.


Plaster Many colours large grains Binder White lime with some lime lumps.

Filler Mainly rounded medium sized particles 0.8-1

mm between large 1.5-2 mm.


brown, beige, white, pale yellow and ochre.

Porous: Red.

Crystalline: Black, transparent uncoloured,grey, green and yellow.



Plaster type CM 1

Group E

Comments

This kind of plaster was used for Third style paintings in e.g.

Casa del Frutteto and in the Edifice of Eumachia. The

decoration belongs to the phase when many rooms in the house

were redecorated, during the Augustan period at the end of the

1st century BC.

Analyses-



205


Sample no 2 Room c

Location North wall, in the doorway to the

atrium, north side.

Decoration -

Layer First layer on the wall, covered by CM 3.

Plaster Black and white, rounded grains Binder Clean white, slightly grainy lime.

Filler Irregular and rounded, mainly small size

particles 0.4-0.8 mm a few smaller and

larger.


brown. Porous: Red.


grey, green and yellow.

Stucco 5 mm

Lime “Pink stucco”


Plaster type CM 2

Group A (Aa)

Comments

Plaster of this kind was used for decoration of the Samnite

period in Casa del Granduca Michele, for First style decoration

in Temple of Apollo, Temple of Jupiter.

Analyses

Sample analysed at CNR/ICVBC. Binder : Homogeneous, micritic lime. No lumps. Few

pores. Aggregate: Rounded and irregular grains, Unimodal filler, 700-1200 µm. Composition:Fragments of volcanic rock, pyroxenes. Proportion B/A: 1/3.

Similar to TJ3, used for First style decorations at the Temple of Jupiter, and TA2, used for

First style decorations at the Temple of Apollo.



206


Sample no 3 Room c

Location North wall, in the doorway to atrium,

north side.

Decoration White stucco built up in several layers,

rounded corner.

Layer Second layer covering CM 2.

Plaster Many colours, large grains Binder White lime, much. Lumps of lime.

Filler Mainly rounded medium size particles 0.8-

1mm between large 1.5-3 mm.


beige and brown, a few white, pale yellowand ochre. Some “beans”.

Porous: Red.





Plaster type CM 1

Group E

Comments

Same as CM1.

Analyses -



207


Sample no 4 Room c

Location South wall towards south-west corner.

Decoration Black socle.


Plaster Many colours, large grains Binder White lime with large lumps.

Filler Mainly rounded medium sized particles 0.8-1

mm between large 1.5-2.5 mm.


brown, beige, pale yellow and ochre. A few

“beans” and black with red dots.

Porous: Red.Crystalline: Black, transparent uncoloured,

grey, yellow and orange.

Stucco 5 mm

Lime White lime

Filler Large and small calcite crystals

Plaster type CM 1

Group E

Comments

Same as CM1.

Analyses -



208


Sample no 5 Room m

Location East wall, close to the north-east corner.

Decoration -

Layer First layer on the wall, covered by a

later decoration.

Plaster Many colours, large grains Binder White lime with large lime lumps.

Filler Mainly rounded large and small particles.

Compact : Mainly black and brown, some

beige, pale yellow and ochre. Some “beans”.

Porous: Red.

Crystalline: Black, transparent grey,uncoloured, and yellow.

Stucco -

Lime

Filler

Plaster type CM 1

Group E

Comments

Same as CM1.

Analyses -



209


Sample no 6 Room r

Location East wall, at the south-east corner.


Layer The layer continues behind the south

wall, cross-wall to room q.

Plaster Black and white rounded grains Binder White lime, little, some lime lumps.

Filler Mainly rounded small particles 0.2-0.4 mm

between medium size 0.8-1 mm.


Porous: Red.

Crystalline: Many black, transparent grey,uncoloured, green and yellow.

Stucco 5 mm

Lime Clean white.

Filler Red and black particles.

Plaster type CM 6

Group A (Aa)

Comments

There are remains of First style plasterwork at the upper level

of the wall, too high up to reach for sampling. The plaster is

similar to CM2, but has smaller grains, more rounded. Same

kind of red stucco as CM2. Even though the plasters are quite

similar, I consider them two types for the moment.

Analyses

Sample analysed at CNR/ICVBC. Binder : Homogeneous, micritic lime. No lumps. Few

pores. Aggregate: Irregular and angular grains, unimodal filler 500-700 µm. Composition:Pyroxenes. Proportion B/A: 1/3.

Similar to TA1. The composition of the filler of this plaster is similar to TA2, but not the

relation lime/filler and not the grain sizes. Pigment : The pigments of the paint applied in one

layer, are yellow ochre and a few orange grains.



210


Sample no 7 Room q

Location North wall, cross-wall towards room r .


Layer -

Plaster Many colours, large grains Binder Clean white lime with some lumps.

Filler Mainly rounded, medium sized particles 0.8-1

mm between large 1.5-3.5 mm.


brown, beige white and ochre. Some “beans”.

Porous: Red.

Crystalline: Black, transparent grey,uncoloured, green, yellow and orange.

Stucco 4 mm

Lime White lime.


Plaster type CM 1

Group E

Comments

Same as CM1.

Analyses -



211


Sample no 8 Room l

Location Saggio B, US 9.

Decoration Red and black, wall decoration, panel.

Layer Fragment.



between medium size 0.8-1 mm and a few

large 1.5 mm.


Porous: Red.Crystalline: Many black, transparent grey,


Stucco 3 mm

Lime Red stucco.

Filler Many red, some black particles.

Plaster type CM 6

Group A (Aa)

Comments

Same as CM 6. Same red stucco as CM2 and CM6, plasters

used for the original decoration of room c and room r .

Analyses -



212


Sample no 9 Room c

Location Saggio A.

Decoration Yellow and white, wall decoration, panel.

Layer Fragment.



between medium sized 0.8-1 mm.

Compact : Black and pale grey, a few brown.

Porous: Red.

Crystalline: Many black, transparent grey,

uncoloured, green.Stucco 5 mm

Lime Clean white.

Filler Medium size and small calcite crystals.

Plaster type CM 6

Group A (Aa)

Comments

Same as CM 6.

Analyses -



213


Sample no 10 Room c

Location Saggio A, US 9.

Decoration Yellow and white, panel with impression “a

cordino”.

Layer Fragment.

Plaster Black and white, rounded grains Binder

White lime, some lumps. Little lime. Filler Mainly rounded, small grains.


Porous: Red.


uncoloured, grey, green and yellow.Stucco 5 mm

Lime White.

Filler Medium and small size calcite crystals.

Plaster type CM 6

Group A

Comments Same as CM 6.

Analyses -



214


Sample no 11 Room c

Location Saggio A, US 9.

Decoration Yellow, monochrome.

Layer Fragment.

Plaster Black and white, rounded grains Binder White, slightly beige lime, some lumps.

Little lime.

Filler Mainly rounded small grains.


Porous: Red.

Crystalline: Many black. Transparent grey,uncoloured, and green.

Stucco 5 mm Lime White.

Filler Medium and small size calcite crystals.

Plaster type CM 6

Group A (Aa)

Comments

Same as CM 6.

Analyses -



217

Temple of Venus

Sample no 3

Location US PTV 4032. Saggio 2b. Fragment found

underneath the Temple of Venus at the

distruction level of a 3rd century edifice.

Decoration White decoration. Layer Fragment.

Plaster Black and white, lots of crystals

Binder White lime, little.

Filler Angular and rounded, small 0.2-0.4, and medium

sized 0.8-1 mm.

Compact : Mainly black. Some pale grey and


Crystalline: Many black, some transparent grey,


Stucco 3 mm.

Lime White lime.

Filler Small calcite crystals.

Plaster type Venus 3

Group A (Ab)

Comments

Lots of crystals. Same group as CC1, First style decoration in

Casa del Centauro (CC1).

Almost exclusively black particles.

AnalysesSample analysed at CNR/ICVBC. Binder : Homogeneous, micritic lime. One lime lump. Few

pores. Aggregate: Angular and rounded grains, unimodal filler 600-700 µm. Composition:

Pyroxenes, fragments of volcanic rock, feldspar, a carbonate fragment. Proportion B/A: 1/3.



218

Temple of Venus

Sample no 4

Location US PTV 2128. Fragment found underneath the

Temple of Venus at a distruction level not

known during excavation in 2005.

Decoration Yellow decoration. Layer Fragment.

Plaster Black and white, lots of crystals

Binder White lime, much.

Filler Irregular and rounded, small 0.2-0.4, and

medium sized 0.8-1 mm.

Compact : Mainly black. Some pale grey and a

few brown. Porous: Red.

Crystalline: Many black, some transparent grey,


Stucco 3 mm.

Lime White lime.

Filler Small calcite crystals.

Plaster type Venus 3

Group A (Ab)

Comments

Lots of crystals. Same as Venus 3.

AnalysesSample analysed at CNR/ICVBC. Binder : Homogeneous,

micritic lime. No lumps. Few pores. Aggregate: Rounded

grains, bimodal filler 600 µm (prevailing) and 1-1.5 mm.

Composition: Pyroxenes, fragments of volcanic rock, feldspar.

Proportion B/A: 1/2-1/3.

Similar to EG 1G11.



219

IX 3, 5 & 24 Casa di Marcus Lucretius

Sample no 1 Room 12, trench BB

Fragment BB 12.6, large fragment.

Decoration White.

Layer Fragment with all layers.

Plaster Black and white, rounded grains Binder Clean white, slightly beige lime with some lime

lumps. Little lime.


mm, medium size 0.8-1 mm. Lots of crystals

Compact : Mainly black, some pale grey, brown.

Porous: Red.


Stucco 6 mm Lime Creamy white.

Filler Medium size and large calcite crystals.

Plaster type ML 1

Group A (Aa)

CommentsSame type of plaster as used for First style decorations at e.g.

the Temple of Apollo (TA 1/TA2), the Temple of Jupiter (TJ3),

Casa del Granduca Michele (GM4), and a layer in connection

with terra battuta floor in the House of Sallustius (Sall 1).

Analyses -



220


Sample no 2 Room 12, trench BB.

Fragment BB 12.6, medium sized fragment.

Decoration White.


Plaster Black and white, rounded grains Binder Clean white lime. Enough.

Filler Mainly rounded, very small grains 0.1-0.3 mm,

medium size 0.8-1 mm, and a few large, lots of

crystals.

Compact : Black, pale grey, brown.

Porous: Red.

Crystalline: Many black. Transparentuncoloured, green, and yellow.

Stucco - Lime

Filler

Plaster type ML 1

Group A (Aa)

CommentsSame as ML 1.

Analyses -



221



Fragment BB 12.5.

Decoration Black profile.


Plaster Black and white, rounded grains Binder Clean white, slightly beige lime with some

lumps. Enough.

Filler Angular and rounded, very small grains 0.2-0.8

mm, a few very large, lots of crystals.


Porous: Red.

Crystalline: Many black. Transparentuncoloured, green and yellow.

Stucco - Lime

Filler

Plaster type ML 1

Group A (Aa)

CommentsMainly black particles. Lots of crystals. Very similar to ML1,

more crystals.

Analyses -



222



Fragment BB 12.61.

Decoration Cornice.


Plaster Black and white, rounded grains Binder Clean white lime, enough.

Filler Mainly rounded, very small grains 0.2-0.8 mm,

lots of crystals.


Porous: Red.

Crystalline: Black, transparent grey, uncoloured,

green and yellow. Stucco 2 mm, remains of stucco

Lime Creamy white.

Filler Medium size calcite crystals.

Plaster type ML 1

Group A (Aa)

CommentsSame as ML 1, 2, 3, 5.

Analyses -



223


Sample no 5 Room 18, trench BD.

Fragment BD 18.129.

Decoration Dentil frieze.


Plaster Black and white, rounded grains Binder Much lime, clean, white.

Filler Mainly rounded, very small grains 0.1-0.3 mm

and 0.8-1 mm. A few large. Lots of crystals.

Compact : black, pale grey, some brown.

Porous: Red.


uncoloured, green and yellow. Stucco -

Lime

Filler

Plaster type ML 1

Group A (Aa)

CommentsSame filler as ML1, 2, 3, 4. More lime. Same as Sall1.

Analyses -



224


Sample no 6 Room 18, trench BC.

Fragment BC 18.95, large fragment.

Decoration Black, purple, cinnabar band.


Plaster Black and white, large grains Binder Clean white, slightly beige lime with some

lumps. Enough.

Filler Mainly rounded, small grains 0.2-0.8 between

large 1-2 mm.

Compact : Mainly black, pale grey. Some brown.

Dots.



Stucco - Lime

Filler

Plaster type ML 6

Group B

CommentsMainly black particles. Same group as plasters used for First

style decorations in e.g. Casa del Centauro (CC2), Casa del

Bell’Impluvio (BI1), and for Second style decorations in e.g.

Casa di Cerere (C9).

Analyses -



225




Decoration Yellow ochre, red border and white lines.


Plaster Black and white, large grains Binder Clean white lime, slightly beige with some

lumps. Enough.

Filler Mainly rounded small grains 0.2-0.8 mm

between large 1-2 mm.

Compact : Mainly black and pale grey. Some

brown. Dots.

Porous: Red.Crystalline: Many black. transparent grey,


Stucco - Lime

Filler

Plaster type ML 6

Group B

CommentsMany black particles. Same as ML6.

Analyses -



226




Decoration White with floral decoration.


Plaster Many colours, lots of crystals Binder Clean white lime with some lumps, enough.


mm. A few large. Lots of crystals

Compact : Black, pale grey, brown, and ochre.

Porous: Red.


uncoloured, green and yellow. Stucco 4 mm

Lime Clean, creamy white.

Filler Medium and large size calcite crystals.

Plaster type ML 8

Group F

CommentsLarge and small grains, lots of crystals. Same group as many 3rd

style decorations e.g. at Casa del Bell’impluvio (BI7), at the

Edifice of Eumachia (E6) and Casa del Frutteto (F6).

Analyses -



227




Decoration Grey and white with red decoration.


Photo sam 1012, 6256.

Plaster Sandy brown plaster Binder Unclean lime.

Filler Very small particles 0.1-0.2 mm and 0.4-0.8

mm, crushed materials.

Compact : many black. Grey, beige, brown.

Some ochre and white.

Porous: Many red.Crystalline: black, transparent grey,


Stucco - Lime

Filler

Plaster type ML 9

Group G

Comments No stucco on this sample.

To the same group belong plasters used for Fourth style decorations in e.g. Casa di Amarantus

(A2).

Analyses -



228


Sample no 10 Room 2, trench AA.

Fragment AA 2.79, small fragment.

Decoration Blue.


Plaster Sandy brown plaster Binder Slightly grey lime with white lime lumps.

Enough.

Filler Very small particles 0.1-0.2 mm and 0.4-0.8

mm, crushed materials.

Compact : Black, brown, ochre and white.

Porous: Many red.

Crystalline: Black, transparent grey anduncoloured.

Stucco 4 mm. Lime Red stucco, lime lumps.

Filler

Plaster type ML 9

Group G

CommentsSame as ML 9.

Analyses -



229


Sample no 11 Room 2, trench AA.

Fragment AA 2.6, small fragment.

Decoration Black with yellow band, green leaf.


Plaster Sandy brown plaster Binder Unclean lime.

Filler Very small particles 0.1-0.2 mm and 0.4-

0.8 mm, crushed materials.

Compact : Black, pale grey, brown, pale

yellow and ochre.

Porous: Many red.

Crystalline: Black, transparent grey, uncoloured, and green.

Stucco - Lime

Filler

Plaster type ML 9

Group G

CommentsSame as ML 9, 10.

Analyses -



230




Decoration Red ochre with yellow ornamental decoration.


Plaster Sandy brown plaster Binder Clean lime.

Filler Crushed materials.

Compact : Black, pale grey, pale yellow and

ochre.

Porous: Red.


yellow and orange. Stucco 3 mm

Lime Creamy white.


Plaster type ML 9

Group G

Comments

Analyses -



231




Decoration -

Layer First layer in the gap. Seemingly the only layer.

Plaster Many colours, lots of crystals Binder Clean white lime. Enough.


mm. A few large. Lots of crystals.

Compact : Many black, pale grey, some beige,

brown, a few ochre and white. Black with red

dots.

Porous: Red.Crystalline: Many black. Transparent

uncoloured, grey, and yellow.

Stucco - Lime

Filler

Plaster type ML 13

Group F

CommentsSample 1 in situ.

Same group as Third style decorations in Casa del

Bell’Impluvio (BI7), Casa del Frutteto (F6), Edifice of

Eumachia.

Analyses -



232




Decoration -

Layer Top layer.

Plaster Sandy grey plaster Binder Unclean lime with lime lumps.

Filler Reused, crushed material, very small particles.

Compact : Many black. Some brown, beige,

and ochre.

Porous: Many red.

Crystalline: Black, transparent grey,uncoloured and yellow.

Stucco - Lime

Filler

Plaster type ML 9

Group H


Reused plaster, very small particles.

Analyses -



233



Location South wall, h. 1.63, 0.86 from the SW corner.

Decoration -

Layer Top layer.

Plaster Sandy grey plaster Binder Unclean lime with some lumps.

Filler Reused, crushed material, very small particles.

Compact : Many black. Beige, brown, ochre.

Porous: Red.

Crystalline: Black, transparent uncoloured and

yellow.


Plaster type ML 9

Group H

Comments

Sample 3 in situ. Same as ML 14.

Analyses -



234



Location South wall, h. 1.49, 0.79 from the SW corner.

Decoration -


Plaster Many colours lots of crystals Binder Clean white lime with some lime lumps.

Enough.

Filler Small grains. Lots of crystals.

Compact : Mainly black, pale grey, many brown,

some beige and a few ochre. Dots.



Stucco - Lime

Filler

Plaster type ML 13

Group F


Same as ML13.

Analyses -



235


Sample no 1 Room 112.

Location South wall, h. 1.40, 0.78 from SW corner.

Decoration -

Layer First layer covered by PS 2.

Plaster Many colours, large grains Binder Slightly beige lime, sandy.

Filler Mainly rounded, medium sized grains 0.8- 1.2

mm and large 1.5-2 mm.

Compact : Many black, pale grey, brown,

ochre.

Porous: Red.

Crystalline: Black, transparent uncoloured,grey and yellow.

Stucco - Lime

Filler

Plaster type Pap 1

Group E

CommentsPreparation for layer Pap 2.

Analyses -



236



Location South wall, h.1.49, 0.21 from SW corner.

Decoration -

Layer Top layer

Plaster Many colours large grains Binder Clean white lime. Enough.

Filler Mainly rounded, large grains 0.8-1.2 mm and

1.5-2.5 mm.

Compact : Many black, some pale grey, beige,

brown, ochre. A few white. Some grains

shaped as beans.

Porous: Many red.Crystalline: Black, transparent grey,

uncoloured, green, yellow.


Filler Medium sized uncoloured and yellowish

calcite crystals.

Plaster type Pap 2

Group E

CommentsSame kind of filler as Pap 1, clean white lime.

Analyses -



237



Location West wall, h. 1.74, 0.32 from SW corner

Decoration -

Layer

Plaster only stucco Binder

Filler

Compact :

Porous:

Crystalline:

Stucco Lime Filler

Plaster type

Group

Comments

Analyses



238




Decoration -

Layer First layer on the wall, covered by PS 5.

Plaster Many colours, large grains Binder Clean white lime with some small lumps.

Filler Mainly rounded, medium size particles 0.8-1

mm, some small 0.1-0.3 mm. A few large.

Compact : Black, pale grey, beige, brown, and

ochre.

Porous: Many red.

Crystalline: Black, transparent uncoloured,green, yellow and orange.

Stucco - Lime

Filler

Plaster type Pap 2

Group E

CommentsSame kind of plaster as Pap 2.

Analyses -



239



Location South wall, h. 1.73, 0.21 from SE corner.

Decoration -

Layer Top layer covering PS 4.

Plaster Sandy grey plaster Binder Unclean lime with large lumps of white lime.

Filler Angular and rounded, small and large grains.

Crushed materials.

Compact : Black, grey, brown, and ochre.

Porous: Many red.


yellow. Stucco -

Lime

Filler

Plaster type Pap 5

Group H

CommentsReused, crushed material, including terracotta and glass.

To the same groups belong plasters used for many repairs and decorations of the final period

of Pompeii.

Analyses -



240


Sample 1B2 Room i. peristyle

Location South wall, h. 1.80, 3.70 from south-east

corner.

Decoration -

Layer Spolium.

Plaster Black and white, rounded grains Binder White lime.


and 0.8-1.2 mm. Some large 1.5-2 mm.

Compact : Mainly black, some pale and warm

grey, brown. Porous: Red.

Crystalline: Mainly black. Transparent grey,


Stucco - Lime

Filler

Plaster type EG 1B2

Group A (Aa)

CommentsTo the same group belong plasters used for early First style decorations in e.g. Casa del

Granduca Michele (GM4), Casa di Sallustius (Sall1), the Temple of Apollo (TA2) and the

Temple of Jupiter (TJ3).

AnalysesSample analysed at CNR/ICVBC. Binder : Homogeneous lime, micritic. No lumps. Few

pores. Aggregate: Rounded grains, bimodal filler 600-700 µm and 1.5-2 mm. Composition:

Pyroxenes, fragments of volcanic rock, feldspar. Proportion B/A: 1/3.

Similar to plaster used for First style decoration at the Temple of Jupiter (TJ3) and thecomposition of the filler is similar to plaster used for early First style decoration at the Casa

del Granduca Michele (GM4).



242


Sample 1A12 Room i, peristyle.

Location South wall, h. 2.94, 4.76 from south-west

corner.

Decoration -

Layer First layer on the wall, covered by plaster

type 1A13 (group F).

Plaster Black and white, large grains Binder Slightly beige lime with some large lumps.

Airbags.

Filler Mainly rounded, large grains. Lack of small.

Compact : Black, pale grey and a few brown.

Some black with red dots. Porous: Red.


uncoloured.

Stucco - Lime

Filler

Plaster type EG 1A12

Group B

CommentsLack of small grains. To the same group belong plasters used for First style decorations in e.g.

Casa del Bell’Impluvio (BI1), the Basilica (B1), and plaster used for Second style decorations

in e.g. Casa di Cerere (C9).

Analyses -



243


Sample 1B8 Room i, peristyle.

Location East portico, column 10, h. 1.97.

Decoration -

Layer First layer.

Plaster Black and warm colours Binder Grainy, slightly unclean lime with lumps.

Good proportion with the filler.


mm.


Porous: Red.Crystalline: Lots of black. Transparent grey,

uncoloured, green and yellow. A few orange.

Stucco - Lime

Filler

Plaster type EG 1B8

Group C

CommentsTo the same group belong plasters used for Second style decorations in e.g. Casa del

Bell’Impluvio (BI 2), Casa di Cerere (C2) and in the cella of the Temple of Jupiter (TJ8).

Analyses -



245


Sample 1A13 Room i, peristyle.

Location South wall, h. 1.80, 5.43 from south-west

corner.

Decoration -

Layer Second layer, covering plaster type B.

Plaster Many colours, lots of crystals Binder White lime with lime lumps. Much lime.

Filler Angular and rounded, small and medium

sized grain 0.5-1 mm and a few 2-2.5 mm.

Compact : Black, pale grey, beige, brown and


Porous: Red.Crystalline: Lots of crystals, black,

transparent uncoloured and yellow.

Stucco - Lime

Filler

Plaster type EG 1A13

Group F

CommentsTo the same group belong plasters used for Third style decorations at e.g. Casa del

Bell’Impluvio (BI7), Casa di Cerere (C14) and the Edifice of Eumachia (E6).

Analyses -



246


Sample 1G8 Room i, peristyle.

Location West wall close to the entrance to room m’ , h.

0.90, 2.00 from south corner.

Decoration Red decoration.

Layer Second layer.

Plaster Sandy brown plaster Binder Dirty lime with lumps. More lime than filler.

Filler Crushed and reused materials 0.2-1 mm and

1.5-2 mm.

Compact : Black, grey, some beige, brown,

pale yellow and ochre. A few white. Porous: Red.

Crystalline: Black, transparent green and

yellow.

Stucco - Lime

Filler

Plaster type EG 1G8

Group G

CommentsSimilar to the plaster used for the Fourth style decoration in the tablinum of Casa di

Amarantus (A2). To this group belong many plasters from late decorations and repairs.

Analyses -



247


Sample 1C3 Room i, peristyle.

Location Intercolumnary wall, east part in front of

room k .

Decoration -

Layer Second layer, covering plaster type F.

Plaster Sandy beige plaster Binder Unclean lime with white lumps. Good

proportion between lime and filler.

Filler Small particles between large 0.2-2 mm.

Crushed materials.

Compact : Black, pale grey, brown, ochre. Porous: Red.


uncoloured.

Stucco - Lime

Filler

Plaster type EG 1C3

Group H

CommentsSimilar to plaster used for 4th style decoration at Casa di Amarantus. To this group belong

many plasters from late decorations and repairs.

Analyses -



248


Sample 10F2 Room i, peristyle.

Location Column 7.

Decoration Red decoration.

Layer Top layer.

*

Plaster Black and warm colours Binder Beige lime, grainy with some lumps.

Filler Very small grains, 0.1-0.5 mm and some large

1-2 mm.

Compact : Black, pale grey, brown. Porous: Red.Crystalline: Black, transparent grey,

uncoloured, green, yellow, and orange.

Stucco - Lime

Filler

Plaster type EG 1B8

Group C

CommentsSampling by C. Pettersson 2005.

Analyses -



249


Sample 12A1 Room i, peristyle garden.

Location South wall, h. -0.40, 0.82 from SW corner.

Decoration -

Layer -

*

Plaster Black and white, rounded grains Binder Jelly-looking, glassy lime. Some lime lumps.

Filler Mainly rounded, small particles, 0.8-1.2 mm

and medium sized 1.5-2 mm.

Compact : Black, pale and warm grey, some brown, pale yellow and ochre. Some black with red dots.

Porous: Red.


green and yellow.

Stucco - Lime

Filler

Plaster type EG 1B2

Group A (Aa)


Plasters with this kind of “glassy” appearance have been

found as waterproof layers, e.g. in a water channel,

canaletta, dated to the period of the Samnitic house at Casa del Granduca Michele (3rd

century BC). What causes this wet look is not yet quite clear.

Analyses -



250


Sample 12A7 Room x.

Location West wall, below floor level, -0.07, 1.52 from north-west corner.

Decoration -

Layer Spoil, fragment in the wall.

*

Plaster Many colours, rounded grains Binder Clean white lime, much.

Filler Mainly rounded and irregular small particles

0.8-1.2 mm.

Compact : Black, pale and warm grey, beige

and brown. A few ochre. Porous: Red.Crystalline: Black, transparent grey,


Stucco 5 mm red stucco Lime “Pink” lime.


Plaster type EG 1B2

Group A (Aa)


Analyses -



251


Sample 12A8 Room x

Location West wall, - 0.04, 0.10 from south-west corner.

Decoration -

Layer First layer covered by plaster type EG 1B2.

*

Plaster Black and white, rounded grains Binder Slightly beige lime with some lumps. Enough

lime.

Filler Mainly rounded, small grains 0.2-0.8 mm.

Some large 1 mm.Compact : Black, pale and warm grey, some

brown and ochre.

Porous: Red.



Stucco - Lime

Filler

Plaster type EG 1B2

Group A (Aa)


Analyses -



253

V 1, 13 Caupona

Sample 12D5 (Type/Phase C)

Room e, west wall.

Location H. 0.22, 0.05 from south-west corner.

Decoration - Layer First layer covered by 12D6 (with black paint layer).

Sampling C. Pettersson 2006.

*

Plaster Investigation

Plaster Black and white, rounded grain Binder Beige, grainy lime with white and yellowish

lime lumps.

Filler Rounded and angular small particles 0.2-0.8

mm between a few larger.

Compact : Black, pale grey, some brown and a

few ochre.

Porous: Red.



Stucco - Lime

Filler

Sample Cau 12D5

Group A (Aa)

CommentsYet another beige plaster. The beige lime and many

rounded grains make it similar to plasters in group 0 andsubgroup Aa. It resembles very early plasters in Casa delle Amazzoni, group 0.

Analyses -



254

V 1, 13 Caupona

Sample 12G11 (Type/Phase E)

Room f , north wall.

Location H. 1.37, 0.08 from north-east corner.

Decoration - Layer First layer, going behind east wall.


*


Plaster Black and white, rounded grains Binder Slightly beige lime, enough.

Filler Mainly rounded very small grains 0.2-0.4

mm, and 0.8-1 mm.

Compact : Black, pale grey, brown, and a few

pale yellow. Black with red dots.

Porous: Red.



Stucco - Lime

Filler

Sample Cau 12G11

Group A (Aa)

CommentsGood proportion lime/filler. Similar to plasters in group A

subgroup Aa. It has slightly more warm colours than usualin the filler, but since it is the only plaster of this type in the northern area, and the layer

continues behind the east wall, and the first layer on the east wall is a plaster in group A, this

one could not be later.

Analyses -



255

V 1, 13 Caupona

Sample 12G8 (Type/Phase D)

Room f , outer façade.

Location H. 2.00, 1.75 from north-west corner.

Decoration - Layer First layer, that goes into the wall, closed door opening.


*


Plaster Black and white, lots of crystals Binder Slightly beige lime with small lime lumps.

Filler Angular and rounded small grains 0.2-0.8 mm

and a few larger.

Compact : Black and pale grey. A few brown.

Porous: Red.



Stucco - Lime

Filler

Sample Cau 12G8

Group A (Ab)

CommentsLots of crystals. Mainly black grains in the filler. This

plaster has all characteristics of such in subgroup Ab, lots

of crystals and mainly black particles. Similar to EG 1G11.

Analyses -



256

V 1, 13 Caupona

Sample 13D1 (Type/Phase B)

Room f , east wall.


Decoration - Layer First layer, going behind the wall structure.


*


Plaster Black and white, lots of crystals Binder Clean slightly beige lime with some small

lime lumps. Much lime.


mm, some larger.


Porous: Red.



Stucco - Lime

Filler

Sample Cau 13D1

Group A (Ab)

CommentsMany black crystals (augite). Same kind of filler as 12G8.

Analyses -



257

V 1, 13 Caupona

Sample 12E7 (Type/Phase G)

Room b, north wall.

Location H. -0.03, 0.59 from north-west corner.

Decoration Red paint layer. (red stucco). Layer Spoil, piece of plaster under the floor.


*


Plaster Many colours, large grains Binder White, slightly grey lime with lime umps.

Filler Rounded grains, medium sized and large 0.5-1

mm and 1.5-2.5 mm.

Compact : Black, beige, brown and ochre. A

few white. Some black with red dots.

Porous: Red.



Stucco - Lime

Filler

Plaster type Cau 12E7Group E

Comments -

Analyses -



258

V 1, 13 Caupona

Sample 12G2 (Type/Phase F)

Room d , east wall.

Location H. 1.25, 0.35 from south-east corner.

Decoration - Layer Spoil, filling in the opening.


*


Plaster Many colours, large grains Binder Clean white lime with small lime lumps.

Much lime.

Filler Mainly rounded large grains 1.5-2 mm, some

larger.

Compact : Black, beige, brown, some ochre.


Porous: Red.



Stucco - Lime

Filler

Sample Cau 12G2Group E

CommentsLack of small grains.

Analyses -



259

V 1, 13 Caupona

Sample 12F12 (Type/Phase H)

Room d , north wall.


Decoration - Layer Second layer with cut traces covered by 12F13 (with red stucco and red paint layer, type/phase

I)


*


Plaster Beige plaster Binder Beige lime with white lime lumps.

Filler Angular and rounded, small particles 0.2-0.8mm.

Compact : Black, grey, brown, pale yellow

and ochre.

Porous: Red.



Stucco - Lime

Filler

Sample Cau 12F12Group G

CommentsThis brown plaster resembles plasters in group 0, brown

plasters in subgroup Aa and plasters in group G. It has the

same kind of slightly beige lime as Cau 12D5 and a filler

with lots of small black angular grains among mainly

rounded. The plaster only appears at one area of the house and it is the only sample of its

kind. Since the plaster has indentations from a tool it is a decoration layer prepared for

redecoration. It is applied on a layer in group A, and is covered by a plaster in group G,12D2). It is most probably a late plaster in group G.

Analyses -



260

V 1, 13 Caupona

Sample 12D2 (Type/Phase I)

Room e, east wall.

Location H. 0.06 at the southern door post.

Decoration Black decoration (red stucco). Layer First layer, going around SW edge and SE corner.


*


Plaster Sandy brown plaster Binder Unclean lime with lots of lumps.

Filler Mainly angular, small particles 0.2-0.8 mm,

some larger.

Compact : Black, grey, pale yellow and ochre.

Porous: Many red.


grey.

Stucco - Lime

Filler

Sample Cau 12D2Group G

CommentsFiller of crushed materials. This kind of plaster was used

e.g. for the Fourt style decoration in the tablinum of Casa di

Amarantus.

Analyses -



261

V 1, 14-16 Bakery and Shop

Sample 6A1 (Type/Phase A)

Room 15c, South wall.


Decoration Red decoration. Layer First layer, covered by 6A2 (= stucco with red decoration)

Sampling C. Pettersson 2002-2007.

*


Plaster Black and white, lots of crystals Binder Clean white lime with some lumps.


mm. Some larger.


grey and a few brown. Black with red dots.

Porous: Red dust.


uncoloured, grey, and green.

Stucco - Lime

Filler

Sample BaS 6A1

Group A (Ab)

CommentsThe many long broken black crystals are characteristic for

plasters I group A, subgroup Ab. The plaster belongs to the

same group as plasters used for First style decorations in

e.g. Casa del Frutteto (F1). Similar to EG 1G11.

Analyses -



262


Sample 6A11 (Type/Phase B)

Room 15 c, south wall.


Decoration - Layer Spoil.


*


Plaster Black and white, lots of crystals Binder Clean white lime with some lime lumps.

Filler Angular and rounded small grains, 0.4-0.8

mm, some larger.


grey. Black with red dots.

Porous: Red dust.


uncoloured, grey, and green.

Stucco - Lime

Filler

Sample BaS 6A11

Group A (Ab)

CommentsSame group as 6A1.

Analyses -



263


Sample 6E3 (Type/Phase C)

Room 15 i, east wall.


Decoration - Layer First layer.


*


Plaster Black and white, large grains Binder White, slightly beige lime with some lime

lumps. Much lime.

Filler Angular and rounded grains 0.5-1.5 mm, some

larger 2-3 mm.

Compact : Black, pale grey, some beige and

brown.

Porous: Red.


grey.

Stucco - Lime

Filler

Sample BaS 6E3Group B

CommentsFiller similar to 6A1, more lime, larger grains.

Analyses -



264


Sample 8E13 (Type/Phase F)

Room g , north wall.


Decoration - Layer Second layer covering 8E12 (type/phase C)


*


Plaster Compact plaster, lots of crystals Binder Clean white lime with some lumps. Little lime.

Filler Angular and rounded very small grains 0.2-0.5

mm.

Compact : Black.

Porous: Red.

Crystalline: Many black, transparent

uncoloured, grey, green, yellow and orange.

Stucco - Lime

Filler

Sample BaS 8E13

Group D

CommentsThe components of this sample are mainly crystals

(pyroxenes) and some volcanic grains. Same group of

plaster as used for Third style decoration in Casa del

Bell’Impluvio (BI6) and as a plaster in Casa di CaeciliusIucundus North House, CaeN 4G5. The plaster occurs only

in room g and only at one wall, where it covers 6E3 (group

A). At the same wall plaster type 6F8 (group E) covers 6E3.

Analyses -



265


Sample 6A3 (Type/Phase G)

Room 15 c, south wall.

Location H. 0.95 at south-west corner.

Decoration Red decoration. Layer Red paint layer, covering 6A2.


*


Plaster Many colours, large grains Binder clean, slightly beige lime with some lumps.

Filler Mainly rounded medium sized and large

grains 0.8-1.2 mm and 1.5-2 mm.

Compact : Black, pale grey, beige, brown,

ochre and white. Some grains shaped as

beans.

Porous: Red.


grey, green and yellow.

Stucco - Lime

Filler

Sample BaS 6A3Group E

CommentsSame group as EG 2C1.

Analyses -



266


Sample 6F8 (Type/Phase D)

Room f , south wall.

Location H. 2.16, -0.17 from south-east corner. Decoration -

Layer First layer.


*


Plaster Many colours, large grains Binder White, slightly beige lime with some lime

lumps. Much lime. Airbags.

Filler Mainly rounded large grains 0.8-1.2 mm,

some larger 1.8-2 mm.Compact : Black, pale grey, beige and brown

and a few white and pale yellow. Black with

red dots.

Porous: Red.


grey. One yellow.

Stucco - Lime

Filler

Sample BaS 6F8

Group E

CommentsThis sample has characteristics of group B as well as group E – both have mainly rounded

large grains. The large amount of black and grey components point at group B but the two

ochre grains point at E. The documentation show that, type BaS 6F8 is at two occasions

covered by a later decoration, plaster type 6B1, which belongs to group H. At one occasion

type 6F8 covers a layer of plaster type 6E3, which belongs to group A. Therefore it is possible

to place BaS 6F8 in either group B or group E. Having studied the context in which this

plaster appears, it seems most probable it belongs to group E. That would also explain the

presence of white grains in the filler.

Analyses -



267


Sample 12C3 (Type/Phase E)

Room (Bakery box 1)

Location

Decoration - Layer Loose fragment.


*


Plaster Many colours, large grains Binder White, slightly beige lime with some lime

lumps. Much lime.

Filler Mainly rounded large grains 0.8-1.5 mm,

some larger 2-3 mm.


brown and one pale yellow.

Porous: Red.


grey and yellow.

Stucco 3 mm red stucco Lime Pink lime.

Filler Crystals and grains.

Sample BaS 12C3Group E

CommentsThe sample mainly consists of red stucco and is therefore not representative. However the

large sized black and grey filler may indicate group E.

Analyses -



268


Sample 6B1 (Type/Phase I)

Room 15 a, south wall.


Decoration - Layer First layer covered by 6B2 (same as 6B1)


*


Plaster Sandy brown plaster Binder Unclean, yellowish lime with large lime

lumps.

Filler Very small particles, 0.2-0.8 mm and some

larger.

Compact : Black, grey, beige and brown. Pale

yellow and ochre.

Porous: Red.

Crystalline: Black, transparent uncoloured

and yellow.

Stucco - Binder

Filler

Sample BaS 6B1Group G

CommentsCrushed particles, reused materials.

Analyses -



269


Sample 6C7 (Type/Phase H)

Room 14 I , south wall.


Decoration Red decoration. Layer Fourth layer covering 6C6 (type/phase G)


*


Plaster Sandy beige plaster Binder unclean, yellowish lime with large lime lumps.

Filler Very small particles, 0.1-0.8 mm and some

larger.

Compact : Black, grey and warm grey, some

brown.

Porous: Red.


yellow.

Stucco - Lime

Filler

Sample BaS 6C7

Group H

CommentsMainly black particles. Crushed particles, reused materials.

I blue paint flake.

Analyses -



270

V 1, 20-21 Taberna

Sample 8H8 (Type/Phase A)

Room a, south wall.

Location H.0.80, 0.32 from south-west edge.

Decoration - Layer Small remain. From the big ashlar in the door opening.


*


Plaster Black and white, rounded grains Binder Beige grainy lime. Enough

Filler Rounded and irregular small grains 0.1-1mm,

some larger.

Compact : Many black and pale grey, a few

brown. One white.

Porous: Red.


uncoloured.

Stucco - Lime

Filler

Sample Tab 8H8

Group A (Aa)

CommentsSame as 8H4. The plaster belongs to group A. Its main

characteristics are of plasters in subgroups Aa. Lots of black crystals, rounded grains.

Analyses -



271

V 1, 20-21 Taberna

Sample 8H4 (Type/Phase B)

Room a, east wall.


Decoration - Layer Small remain. From the big ashlar under a modern safety repair.


*


Plaster Black and white, rounded grains Binder Beige grainy lime. Enough

Filler Rounded and irregular small grains 0.1-1

mm, some larger.

Compact : Many black and pale grey, a few

brown, one white.

Porous: Red.


uncoloured.

Stucco - Lime

Filler

Sample Tab 8H4Group A (Aa)

CommentsSame kind of filler as Tab 8H8.

Analyses -



272

V 1, 20-21 Taberna

Sample 9A1 (Type/Phase C)

Room e, north wall.

Location H. 0.79, 0.73 from north-west corner. Decoration -

Layer First layer. Small remain.


*


Plaster Compact plaster, lots of crystals Binder Clean white lime. Little lime. One large lime

lump. Filler Angular and rounded very small grains 0.1-

0.8 mm.Compact : Mainly black, some beige and

brown.

Porous: Red.



Stucco - Lime

Filler

Sample Tab 9A1Group D

CommentsThis plaster has a filler of extremely small grains, mainly

crystals. Plasters in this group were used for e.g. Third style

decorations at the black triclinium of Casa del

Bell’Impluvio and at decoration in the nearby Casa di

Caecilius Iucundus, North House, sample CaeN 4G5.

Analyses -



273

V 1, 20-21 Taberna

Sample 8H13 (Type/Phase D)

Room b, north wall.

Location H.0.38, 0.26 from north-east corner.

Decoration - Layer Small remain. From the big ashlar.


*


Plaster Many colours, large grains Binder Clean white lime with lime lumps.

Filler Rounded, medium sized and large grains 0.5-1

mm, and 2-2.5 mm.


Some ochre.

Porous: Red.



Stucco - Lime

Filler

Sample Tab 8H13

Group E

CommentsSimilar to EG 2C1. Same group as plasters used for Third

style decorations at many buildings of Pompeii.

Analyses -



274

V 1, 20-21 Taberna

Sample 8K3 (Type/Phase F)

Room d , north wall.


Decoration Red stucco. Layer First layer. Overlapping the cistern corner.


*


Plaster Many colours, large grains Binder Clean white lime with some lumps.

Filler Mainly rounded large grains, 1.5-3 mm.

Compact : Black, some pale grey, beige, brown

and few ochre. Some black with dots.

Porous: Red.


Stucco 3 mm pink stucco Lime

Filler

Sample Tab 8K3

Group E

CommentsDirty sample. Not representative, too small. There are

however large grains, which indicate either group B or E. In

this case it should be group E due to the presence of beige and

ochre grains.

Analyses -



275

V 1, 20-21 Taberna

Sample 8H1 (Type/Phase G)

Room a, north wall.


Decoration - Layer Small remain.


*


Plaster Sandy brown plaster Binder Unclean lime with lime lumps.

Filler Mainly angular very small particles 0.2-0.8

mm, some larger.

Compact : Black, pale and warm grey, some

pale yellow and ochre.

Porous: Many red.



Stucco - Lime

Filler

Sample Tab 8H1

Group G

CommentsCrushed materials. Similar to EG 1G8. Same group as

plaster used for Fourth style decoration in Casa di

Amarantus, A2.

Analyses -



276

V 1, 20-21 Taberna

Sample 9A6 (Type/phase E)

Room e, south wall.

Location H. 1.07, 0.92 from south-east corner. In the door opening towards 23 b.

Decoration - Layer First and second layer.


*


Plaster Sandy beige plaster Binder Beige, unclean lime with large beige and

white lime lumps.

Filler Mainly angular, very small particles 0.2-0.8

mm, a few larger.

Compact : Black, pale grey, beige, brown and

pale yellow.

Porous: Red.


Stucco - Lime

Filler

Sample Tab 9A6

Group H

CommentsCrushed materials.

Analyses -



277

V 1, 23 Casa di Caecilius Iucundus, North house

Sample 5K1

Room p, north wall.

Location H. 0.78, 0.23 from north-west edge.

Decoration Phase C. Layer Small remain, sample taken from the ashlar.


*


Plaster Brown plaster, small grains Binder The sample is prepared with some wet

substance.

Filler Very small grains 0.1-0.3 mm, 0.8-1.2 mm

and some larger.Compact : Mainly black and warm grey. Some

brown.

Porous: Red.



Stucco - Lime

Filler

Sample CaeN 5K1Group 0

CommentsThe sample is prepared with some kind of wet substance

that makes it very dark and therefore impossible to see what

the binder looks like. Therefore I looked at some other

samples labeled type 5K1, e.g 5I3 and 5I7, and these are of

the same kind. I have used the study of those to place 5K1

in a group of plasters. Similar to CC5, same kind of plaster as CA1.

Analyses -



278

V 1, 23 Casa di Caecilius Iucundus, North House

Sample 4D1

Room k , south wall.

Location West side of door opening, h. 0.99, 0.05 from north-west edge.

Decoration Phase A. Layer First layer. Small remain.


*


Plaster Black and white, lots of crystals Binder White lime with some lumps. Little lime


mm, and some larger.

Compact : Mainly black, pale and warm grey.Black with red dots.

Porous: Red.



Stucco - Lime

Filler

Sample CaeN 4D1

Group A (Ab)

CommentsThis plaster is of the same kind as the lower level of sample

13C10. These belong to the same group. There are also

some very small grains in this small-sized fragment.

Analyses -



279


Sample 4D8

Room k , west wall.


Decoration Phase B. Layer Spoil.


*


Plaster Black and white, lots of crystals Binder Clean white lime with some white lime lumps.

Much lime.


mm, some large 1.5-2 mm.Compact : Black, some pale and warm grey.

Porous: Red.



Stucco - Lime

Filler

Sample CaeN 4D8

Group A (Ab)

CommentsThis plaster is of the same kind as the top layer of sample

13C10 and belongs to the same group.

Analyses -



280


Sample 13C10

Room d’ , west wall.

Location H. -0.62, 0.20 from north-west corner.

Decoration Phase A0. Layer First layer. Under the floor.)


*


Plaster Black and white, lots of crystals Binder Creamy white lime with small lumps. Two

layers, at the top much lime.


mm. Compact : Mainly black, some pale and warm

grey.

Porous: Red.


uncoloured, green and yellow

Stucco - Lime

Filler

Sample CaeN 13C10Group A (Ab)

Comments No stucco on this sample. This sample is a fine example on

the plastering technique, the lower layer with a filler of

slightly larger grains than the upper, and the greater amount

of lime used at the top layer. The layers indisputably belong

to the same period, the same group; just the amounts of

components differ.

Analyses -



281


Sample 4E13

Room l , south wall.

Location H. 0.00, 0.15 from south-west edge. Decoration Phase D.

Layer Spoil?


*


Plaster Black and white, large grains Binder Slightly beige lime with some lumps.


mm, some large 1.5-2 mm.


beige and brown.

Porous: Red, dust.


and uncoloured.

Stucco - Lime

Filler

Sample CaeN 4E13Group B

CommentsSame kind of filler as 4D1 and 13C10 but larger grains and the lime has a slightly different

colour.

Analyses -



282


Sample 4G5

Room 24b, north wall.

Location H. 0.34 at the north-east corner.

Decoration Phase E. Layer First layer. Small remain. Going behind east wall.


*


Plaster Compact plaster, lots of crystals Binder White lime with a few small lime lumps. Little

lime.

Filler Manily angular, very small particles 0.1-0.3

mm, 0.5-0.8 mm.Compact : Mainly black, some beige and


Porous: Red.


uncoloured, green, yellow, and orange.

Stucco - Lime

Filler

Sample CaeN 4G5Group D

CommentsVery fined grained filler, little lime. To the same group

belongs the Third style decoration in the black triclinium in

Casa del Bell’Impluvio (BI6).

Analyses -



283


Sample 4D4



Decoration Phase G. Layer Second layer, covering 4D3 (plaster type 4D3)


*


Plaster Many colours, lots of crystals Binder Grainy beige lime with white lime lumps.

Filler Very small particles 0.1-0.8 mm and some large

1-2 mm. Some angular small particles

Compact : Black, pale grey, beige, brown, andsome ochre.

Porous: Red.



Stucco - Lime

Filler

Sample CaeN 4D4

Group F

CommentsThis plaster sample has been the object of intense discussion

between Arja Karivieri and me. The sample has

characteristics of Third style plasters as well as such used for

Fourth style decoration. The many small angular particles

resemble a crushed and reused plaster in relatively much lime. On the other hand, the sample

contains large, many-coloured grains that are characteristic of Third style plasters. This

sample has no characteristics that are absolutely specific of any group; its colour falls between

group G and H, its filler is similar to plasters in group E (large grains) but also group F (smallgrains). In Pettersson’s documentation it is registered and described as a reused plaster. Since

there was no information of objections based on archaeological evidence, my choice was to

place the plaster in group G. Due to convincing archaeological evidence, and observations of

additional samples with the same label, I now place the plaster in group F: a Third style

plaster with dirty appearance.

Analyses -



284


Sample 4D3


Location H. 1.42, 1.33 from door opening to south-west side.

Decoration Phase F Layer First layer, covered by 4D4 (plaster type 4D4, phase G).


*


Plaster Many colours, lots of crystals Binder White lime with large lime lumps.

Filler Small grains 0.5-1 mm and some large 1.5-2

mm.

Compact : Many black, some pale grey, beigeand brown. A few ochre and some black with

red dots.

Porous: Red.



Stucco - Lime

Filler

Sample CaeN 4D3Group F

CommentsTo the same group belong plasters used for Third Style

decorations in Casa del Bell’Impluvio (BI7) and at the

Edifice of Eumachia (E6).

Analyses -



285


Sample 4G1

Room 24 b, door opening towards room 23 b, east side.

Location H.0.10, 0.09 from SE edge.

Decoration Phase H Layer First layer covered by 4G2 (plaster type 4G1).


*


Plaster Sandy beige plaster Binder Grainy beige lime with white lumps.

Filler Small and large particles, crushed materials.

Compact : Black, pale grey, beige, brown, and

ochre. Porous: Red dust.


yellow.

Stucco - Lime

Filler

Sample CaeN 4G1

Group H

CommentsSame kind of plaster as 4D4. The composition of the filler is

slightly different since this plaster contains more red

particles. The principal characteristics of both samples are

crushed materials in slightly beige lime. The variations depend on what materials were

crushed and mixed into the fresh lime.

Analyses -



286


Sample 8A1

Room l , east wall.

Location H. 0.00, 1.20 from door opening towards room m, south-east edge, 0.09 from the wall.

Decoration - Layer First layer. Plaster layer on the basin. (Phase I).


*


Plaster Sandy beige plaster Binder Beige lime, some lime lumps. Good

proportion lime/filler.

Filler Small particles 0.2-0.8 mm and some 1-1.5

mm. Reused material.Compact : Black, some brown, pale yellow and

ochre.

Porous: Red.

Crystalline: Black, transparent grey and

yellow

Stucco - Lime

Filler

Sample CaeN 8A1Group H

CommentsYet another beige plaster with crushed materials. This one

is most similar to 4G1.

Analyses -



287


Sample 9D5 (Type/Phase A)

Room h, East wall.

Location H 0.67, 1.54 from south-east corner.



*


Plaster Black and white, lots of crystals Binder Clean slightly beige lime with some lumps


mm. Some large 1.5-2 mm.Compact : Black, pale and warm grey, some

brown.

Porous: Red.



Stucco - Lime

Filler

Sample CaeS 9D5

Group A (Ab)

CommentsA black and white plaster with small grains.

Same group as F1, EG 1G11.

Analyses -



288


Sample 9D6 (Type/Phase B)

Room h, east wall.


Decoration - Layer First layer? Spoil?


*


Plaster Black and white, lots of crystals Binder Clean slightly beige lime with some lumps.

Much lime.


mm. Some large 1.5-2 mm.


brown.

Porous: Red.



Stucco - Lime

Filler

Sample CaeS 9D6Group A (Ab)

CommentsLots of lime. Same filler as 9D5.

Analyses -



289


Sample 9D12 (Type/Phase C)

Room h, west wall.




*


Plaster Black and white, lots of crystals Binder Clean slightly beige lime with some lumps.

Much lime.


mm. Some large 1.5-2 mm.


brown.

Porous: Red.



Stucco - Lime

Filler

Sample CaeS 9D12Group A (Ab)

CommentsSame as 9D5.

Analyses -



290


Sample 11I7 (Type/Phase G)

Room c, south wall.

Location H. 1.56 at the north-east edge of door opening towards room b.



*


Plaster Compact plaster, lots of crystals Binder White lime with a few small lime lumps. Little

lime.

Filler Rounded and angular small grains 0.2-0.8 mm

and a few 1.5-2 mm.

Compact : Black, some beige and brown. A

few pale yellow.

Porous: Red.



Stucco - Lime

Filler

Sample CaeS 11I7Group D

CommentsPlaster with a very fine-grained filler, little lime. To the

same group belongs Third style decoration in the tablinum

of Casa del Bell’Impluvio (BI6) and CaeN 4G5 in Casa diCaecilius Iucundus, North House.

Analyses -



291


Sample 10H11 (Type/Phase D)

Room f , north wall.

Location West edge of door opening towards room b, h. 1.44, 1.60 from north-west corner.



*


Plaster Many colours, large grains Binder White lime with a few small lime lumps.

Filler Rounded and angular medium sized and large

grains 0.4-0.8 mm and 1.5-2 mm.


brown. A few white.

Porous: Red.



Stucco - Lime

Filler

Sample CaeS 10H11

Group E

CommentsThis sample consists of small fragments and therefore not very representative. There are just

two groups of large-grained plasters, B and E. The beige, brown and white large grains

indicate group E in spite of the lack of ochre grains. The plaster type was found as the first

layer covered by type 11B1, a plaster that belongs to group H.

Analyses -



292


Sample 11C9 (Type/Phase E)

Room u, east wall.


Decoration - Layer Third layer covered by 11C10.


*


Plaster Many colours, large grains Binder White lime with many lime lumps. Much lime.

Filler Mainly rounded medium sized grains 0.8-1.2

mm. A few smaller and larger.


brown, a few ochre. Beans.

Porous: Red.



Stucco - Lime

Filler

Sample CaeS 11C9Group E

CommentsSame group as CaeS 10H11.

Analyses -



293


Sample 10K1 (Type/Phase F)

Room k .

Location H. 0.46, 1.53 from door opening towards room b.

Decoration Black decoration. Layer First layer.


*


Plaster Many colours, lots of crystals Binder White lime with a few small lime lumps.

Filler Rounded and angular small grains 0.4-0.8 mm

and a few 1.5-2 mm.

Compact : Black, pale grey, some brown. A

few ochre and white. Black with red dots.

Porous: Red.



Stucco - Lime

Filler

Sample CaeS 10K1

Group F

CommentsThe filler of this plaster is of the same kind as 9D5, but the

lime is slightly different. On the other hand, the fact that

there are orange crystals and some white grains in the compact filler suggests a plaster in

group F.

Analyses -



294


Sample 9E6 (Type/Phase H)

Room l , garden, east wall.

Location H. 0.92, 0.20 from south-west egde of the window opening towards room s. South edge! Decoration -

Layer First layer.


*


Plaster Many colours, lots of crystals Binder White lime with many lime lumps.

Filler Angular and rounded small and medium sized

grains, 0.2-0.5, 0.8-1.2 mm. Some large.

Compact : Black, pale grey, brown and a fewochre. Black with red dots.

Porous: Red.



Stucco - Lime

Filler

Sample CaeS 9E6

Group F

CommentsSimilar to CaeS 11I7 but not the same. CaeS 11I7 has

smaller grains, more crystals and little lime. Same group as 11B1.

Analyses -



295


Sample 11B1 (Type/Phase I)

Room l , west portico.

Location H. 0.92, 0.22 from north-east edge of door opening towards room u.

Decoration Yellow decoration. Layer First layer.


*


Plaster Many colours, lots of crystals Binder Clean white lime with many lime lumps.

Little lime.

Filler Rounded and angular small and medium sized

particles,0-2-0.5 mm and 0.8-1.2 mm. A few

large.

Compact : Black, pale grey, brown and a few


Porous: Red.



Stucco - Lime

Filler

Sample CaeS 11B1

Group F

CommentsSame group as CaeS 9E6.

Analyses -



296


Sample 10K8 (Type/Phase K)

Room m, south wall.


Decoration Red decoration. Layer First layer.


*


Plaster Sandy grey plaster Binder Beige lime. Much.

Filler Small grains 0.2-0.8 mm and 1-1.5 mm.

Crushed, reused materials.

Compact : Black and pale grey. Some ochre.

Porous: Red.



Stucco - Lime

Filler

Sample CaeS 10K8Group H

CommentsA sandy-looking plaster with crushed materials.

Analyses -



297


Sample 12K2 (Type/Phase L)

Room Taberna 27 , west wall.


Decoration White decoration. Layer First layer.


*


Plaster Sandy grey plaster Binder Beige lime with lots of white lime lumps.

Much lime.

Filler Small grains 0.2-0.8 mm and 1-1.5 mm.

Crushed, reused materials.

Compact : Black and grey. Some beige, pale

yellow and ochre.

Porous: Many red.



Stucco - Lime

Filler

Sample CaeS 12K2Group H

CommentsThis plaster belongs to the same group as CaeS 10K8. It has

the same kind of composition as CaeN 8A1.

Analyses -



298

TABLE, Samples group Asample bl dots gr pgr wgr bro bei pye ocr red bl un gr gre yel o w b

8:3 x x x x x x x xx x x x x8:5 x x x x x x xx x x x x8:14 x x x x x x xx x x x x1 16 5:1 x x x x x xx x x x1 16 5:2 x x x x x xx x x x1 16 5:3 x x x x x xx x x x

5 3 8:1 x x x x x xx x x x5 3 8:2 x x x x x xx x x x5 3 8:3 x x x x x xx x x xBaS 6A1 x x x x x x xx x x xBaS 6A11 x x x x x xx x x xCaeN 13C10 x x x x x xx x x x xCaeN 4D1 x x x x x xx x x x xCaeN 4D8 x x x x xx x x xCaeS 9D12 x x x x x xx x x x xCaeS 9D5 x x x x x x xx x x xCaeS 9D6 x x x x x xx x x x xCau 12D5 xx x x x x x x x xCau 12F5 xx x x x x x x x x x xCau 12G11 xx x x x x x xx x x x xCau 13D1 x x x x xx x x x xCau 12G8 x x x x xx x x xEG 1B2 xx x x x x x xx x x x xEG 1G11 x x x x x xx x x x xEG 12A1 xx x x x x x x x x x x x xEG 12A8 xx x x x x x x x x x x xEG 12A7 xx x x x x x x x x xTab 8H4 xx x x x xx x x xTab 8H8 xx x x x xx x x x

sample bl dots gr pgr wgr bro bei pye ocr red bl un gr gre yel o w b

CA1 xx x x x x xx xx x x x xCA2 xx x x x x x xx x x x xCA3 xx x x x x x xx x x x xCA5 xx x x x x x x x x x

CC5 xx x x x x x xx x x x xCC9 xx x x x x x xx x x x x xCC11b xx x x x x x x xx x x x x xCC13 xx x x x x xx x x x x xCC14 xx x x x xx x x x xCC17 xx x x x xx x x x xGM2 xx x x x x x xx x x xGM11 xx x x x x x xx x xGM19 xx x x x x xx x xVenus1 xx x x x x x x xx x x x

Venus2 xx x x x x x xx x x xCaeN 5K1 xx x x x xx x x x

TABLE samples, group 0



299

TABLE, samples group A

sample bl dots gr pgr wgr bro bei pye ocr red bl un gr gre yel o w b

CA4 xx x x x x xx xx x x x xCA6 xx x x x x xx xx x xCA8 xx x x x x x xx x x x xCA10 xx x x x x xx x x xCC1 x x x x x xx x x x xCC6 x x x x xx x x x x

CC10 x x x x x x x xx x xCC11a x x x x x x xx x x xCC12 x x x x x xx x x x xCC15 x x x x xx x x x xCC16 x x x xx x x x xCC18 x x x x xx x x x xCM2 xx x x x x xx x x x xCM6 xx x x x x xx x x x xCM8 xx x x x xx x x x xCM9 xx x x x x xx x x xCM10 xx x x x xx x x x x

CM11 xx x x x xx x x xGM1 x x x x x x xx x x xGM4 xx x x x x xx x x x xGM5 x x x x x x xx x x x xGM6 xx x x x x xx x x x xGM7n xx x x x x xx x x x xGM8 xx x x x x xx x x x xGM12 x x x x xx x x x xGM13 xx x x x x x xx x x x xGM14 xx x x x x x xx x x x xGM15 x x x x xx x x x x

GM16 x x x x x xx x x x x xGM17 xx x x x x xx x x x xGM18 x x x x x x xx x x xGM20 xx x x x x xx x x x xSall1 xx x x x x xx x x xSall2 xx x x x x xx x x xSall3 xx x x x x xx x x xVenus3 xx x x x x xx x x xVenus4 xx x x x x xx x x xML1 xx x x x xx x x x xML2 xx x x x xx x x x xML3 xx x x x xx x x x xML4 xx x x x xx x x x xML5 xx x x x xx x x x x

Tables, samples, group 0-H.Column 1 = sample.

Column 2-7: compact grains, fragments of volcanic rock; Dots = black with red dots, bl = black, gr = dark grey,

pgr = pale grey, wgr = warm grey, bro = brown.

Column 8-10: compact grains, limestone; bei = beige, pye = pale yellow, ocr = ochre.

Column 11: porous grains: red = red cruma, generally, occasionally baked brick.Column 12: crystals; bl = long black crystals.

Column 13-17: vitreous particles, transparent; un = uncoloured, gr = grey, yel = yellow, o = orange.

Column 18: Marble or limestone, w = white.

Column 19: compact grains, generally beige, shaped as beans: b = beans.



300

Table, samples, group B

TABLE, samples group D

sample bl dot gr pgr wgr bro bei pye ocr red bl un gr gre yel o w b 8:1 xx x x x x x x x x8:4 xx x x x x x x x x8:6 xx x x x x x x x x

8:13 xx x x x x x x x x8:15 xx x x x x x x x x10:1 xx x x x x x x x x x x10:3 xx x x x x x x x x x xCC2 xx x x x x x x x x xCC3 xx x x x x x x x x xCC4 xx x x x x x x x x xCC7 xx x x x x x x x xCC7b xx x x x x x x x xCC8 xx x x x x x x x x

ML6 xx x x x x xx x x xML7 xx x x x x xx x x xBaS 6E3 xx x x x x x x x xEG 1A12 xx x x x x x x xCaeN 4E13 xx x x x x x xx x x

sample bl dot gr pgr wgr bro bei pye ocr red bl un gr gre yel o w bT2 xx x x x x xx x x x xT5 xx x x x x x xx x x x xT6 xx x x x x x xx x x x xT9 (top) xx x x x x xx x x x xCaeN 4G5 xx x x x x x xx x x x x xEG 1B8 xx x x x x x xx x x x x xEG 10F4 xx x x x xx x x x x x

sample bl dot gr pgr wgr bro bei pye ocr red bl un gr gre yel o w bBaS 8E13 xx x x x xx x x x x xCaeN 4G5 xx x x x x xx x x x x xCaeS 11I7 xx x x x x xx x x x x xTab 9A1 xx x x x xx x x x x x

TABLE samples, group C



301

TABLE samples, group E

sample bl dot gr pgr wgr bro bei pye ocr red bl un gr gre yel o w b BaS 6A3 xx x x x x x x x x x x x xBaS 6F8 xx x x x x x x x x x x xBaS 12C3 xx x x x x x x x x x x

24:1 xx x x x x x x x x x x x24:2 xx x x x x x x x x x x x24:3 xx x x x x x x x xCaeS 10H11 xx x x x x xx x x x x xCaeS 11C9 xx x x x x x x x x xCau 12E7 xx x x x x x x x x x x x xCau 12G2 xx x x x x x x x x xCM1 xx x x x x x x x x x x xCM3 xx x x x x x x x x x x x x xCM4 xx x x x x x x x x x x x x x xCM5 xx x x x x x x x x x x x x xCM7 xx x x x x x xx x x xEG 2C1 xx x x x x x x x x x x x x xPap1 prep xx x x x x x x x xPap2 xx x x x x xx x x x x x x xPap4 xx x x x x xx x x x x x x xT1 xx x x x x x x x x x x x x xT3 xx x x x x x x x x x x xT4 xx x x x x x x x x x x x xT7 xx x x x x x x x x x x x xT8 xx x x x x x x x x x x x x x

T10 xx x x x x x x x x x x xTab 8H13 xx x x x x x x x x xTab 8K3 xx x x x x x x x x x8:11 xx x x x x x x x x x x x x x x10:2 xx x x x x x x x x x x x x x10:4 xx x x x x x x x x x x x x x10:5 xx x x x x x x x x x x x x x



TABLE, samples group F

pompeian plasters. buildings in regiones i, v, vi, vii and ix

Documents