Archaeologists have unveiled a small but exquisitely decorated house in the ancient city of Pompeii, known as the House of Phaedra, rich in detailed frescoes featuring erotic themes and mythological scenes. The Pompeii archaeological park announced the discoveries, highlighting their significance for public understanding of archaeology.
The House of Phaedra is located in the Insula of the Chaste Lovers in the central area of Pompeii. Despite its modest size, the dwelling "strikes us for the high level of its wall decorations," according to the Pompeii archaeological park. The walls are "splendidly decorated," and the quality of the frescoes is comparable to those found in much larger and more opulent homes nearby.
One of the most striking frescoes depicts a scantily clad Phaedra alongside Hippolytus, illustrating her tragic infatuation with her stepson. According to Greek legend, Phaedra fell in love with Hippolytus, who rejected her advances. In response, Phaedra accused him of rape after he spurned her, leading to a series of tragic events. Another fresco features gods presumed to be Venus and Adonis, echoing themes of love, beauty, and fate that resonate throughout mythological lore.
The vividly colored wall paintings also include a representation of a symplegma—a sexual encounter between a satyr and a nymph—a frequent motif symbolizing the wild, uninhibited forces of nature in Greek and Roman mythology. Other images from the wide repertoire of Greco-Roman imagery were found in the splendidly decorated walls of the House of Phaedra, showcasing the Romans' deep admiration for Greek tales.
The house lacks the central open courtyard known as the 'atrium,' a distinctive feature of Roman architecture. This extraordinary discovery sheds light on changing architectural styles of the first century AD. Experts suggest that the absence of a traditional Roman atrium indicates that it was not essential for Pompeiians to display their wealth, as the house still showcases a high level of decoration. Atriums were key features of grand homes in ancient Rome and were markers of wealth.
Gabriel Zuchtriegel, the director of the archaeological park, pointed out that the excavation process "is taking place under the eyes of the public" who can access the site via suspended walkways and watch the archaeologists at work. The project has led to the construction of a series of elevated walkways, allowing the public to walk and contemplate the excavated area while observing the excavation process. This approach is "an example of public or circular archaeology," based on a marked process of conservation, research, management, accessibility, and use that form "a virtuous circuit," Zuchtriegel highlighted.
In another part of the recently excavated house, the last ritual offerings left before the eruption of Mount Vesuvius are still present in the family shrine, known as the 'lararium.' Among the objects were a colorless ceramic incense burner with ancient holes and a lamp, both with evident traces of burning. Laboratory analyses allowed the identification of remains of twigs of fragrant essences. Flowers were placed as an offering around the altar.
A small lararium—an altar—was found in the courtyard, featuring rich painting and decoration with vegetable and animal motifs on a white background, including birds of prey, sparrows, snakes, and plant motifs. In the lararium, a bird of prey in flight, probably an eagle, is depicted at the top, holding a palm branch in its claws. At the bottom, the main scene is composed of two facing snakes, framing an altar with a circular axis on which offerings were placed. Two bushes with red and yellow fruits, over which three sparrows move, complete the scene.
On the surface of the altar in the lararium, two strips of colored marble were found, along with a third element, presumably of red marble, representing a face "attributable to the Dionysian sphere, probably a Silenus." The red marble element represents a face "attributable to the Dionysian sphere, probably a Silenus." Archaeologists also identified a quadrangular marble base with a central housing at the front of the altar.
The courtyard has a covered area that leads to a large pool with walls painted red, around which "a channel allowed rainwater to be directed to the mouth of a well connected to a cistern located below." A window next to the small painting with Hippolytus and Phaedra opens to this small courtyard where construction work was being carried out at the time of the eruption of Mount Vesuvius.
Pompeii was engulfed in volcanic ash in 79 C.E. after the eruption of Mount Vesuvius, which killed thousands of Romans who had no idea they were living in the shadow of one of Europe's biggest volcanoes. The eruption buried the city in a thick layer of ash, preserving many of its residents and buildings. These layers have preserved the city perfectly for thousands of years, allowing for the discovery of lavish decorations in homes, even in those lacking traditional Roman atriums.
Pompeii offers an unprecedented glimpse into the daily lives of the Romans, showcasing the shockingly vivid remnants of the complete devastation of the city after the violent volcanic eruption. The ancient Roman city is known for its uniquely preserved homes and people after the eruption, making it one of Italy's most popular tourist attractions.
The House of Phaedra is further proof that the residents of Pompeii had an appetite for sensual art. Racy scenes were present in homes across all sections of society and public spaces in Pompeii. Such scenes were not looked upon as scandalous or embarrassing in Pompeii. Previously, complex frescoes with a similar erotic theme have been found in Pompeii, including in the House of the Vettii, which reopened to visitors in 2023 after being closed for 20 years.
In 2018, another fresco was uncovered depicting an erotic scene from the Greek myth "Leda and the Swan." Other wall art in the House of Phaedra includes beautifully bright depictions of animals and nature, as well as numerous smaller, detailed, and beautifully preserved patterns and scenes from nature.
Sources: The Guardian, CNN Arabic, Helsingin Sanomat, LaVanguardia, 20 minutos
This article was written in collaboration with generative AI company Alchemiq