Pompeian Domestic Sculpture: A Study of Five Pompeian Houses and Their Contents

Brilliant, Richard; Dwyer, Eugene

doi:10.2307/4349610

Cited by 6 publications

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“…The Capitoline triad occupied an entire corner in a sort of bi-dimensional lararium. 21 Mercury and Minerva, coupled as half-siblings and protectors of liminality, anked the main entrance. The intertwined gazes of the deities seem to reinforce their narrative ties and potential non-axial circulation.…”

Section: The Atrium (B)mentioning

confidence: 99%

“…[20] The medallion in between those representing Juno and Minerva was missing at the time of the excavation; PPM III (1991:546) advanced the possibility that Jupiter was represented there. [21] It is interesting to note that the neighbouring houses had lararia placed in a corner position, either in the atrium (House of Caecilius Iucundus) or in a very small room that opened onto it (House of the Bronze Bull). [22] In this regard, Platt (2002), investigating the wall paintings in the House of Octavius Quartio, has posed the accent on voyeuristic viewing and how a dynamic dialectic existed between viewer and images.…”

Section: The Atrium (B)mentioning

confidence: 99%

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RETRACTED: A room with a view? Investigating the Pompeian domestic space using virtual reality-based eye tracking and GIS.

Campanaro

Landeschi

2023

Preprint

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Ancient sources indicate the importance that view and viewing had within Roman society and particularly in the domestic sphere. Archaeological studies have found evidence of this in the remains of Roman houses in connection with a general rituality underpinning them. View planning would therefore be part of the homeowner’s social paraphernalia. Although relevant, these studies have relied on direct experience of physical remains or models that privileged the single perspective frame. Human perception proves to be more complex, influenced by the body and eye movement and illumination. This research, based on three case studies from the House of the Greek Epigrams in Pompeii and combining virtual reality-based eye-tracking technologies and geographic information systems, presents a novel investigation of perception in the Roman house and its manipulation for the construction of social identity.

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Section: The Atrium (B)mentioning

confidence: 99%

Section: The Atrium (B)mentioning

confidence: 99%

RETRACTED: A room with a view? Investigating the Pompeian domestic space using virtual reality-based eye tracking and GIS.

Campanaro

Landeschi

2023

Preprint

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The Material Life of Roman Slaves

Joshel

Petersen

2014

100

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The Material Lives of Roman Slaves is a major contribution to scholarly debates on the archaeology of Roman slavery. Rather than regarding slaves as irretrievable in archaeological remains, the book takes the archaeological record as a key form of evidence for reconstructing slaves' lives and experiences. Interweaving literature, law, and material evidence, the book searches for ways to see slaves in the various contexts - to make them visible where evidence tells us they were in fact present. Part of this project involves understanding how slaves seem irretrievable in the archaeological record and how they are often actively, if unwittingly, left out of guidebooks and scholarly literature. Individual chapters explore the dichotomy between visibility and invisibility and between appearance and disappearance in four physical and social locations - urban houses, city streets and neighborhoods, workshops, and villas.

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Sexual Graffiti in the House of Marcus Lucretius in Pompeii (IX.3.5, 24)

Loar¹

2018

Classical World

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Pompeian Domestic Sculpture: A Study of Five Pompeian Houses and Their Contents

Cited by 6 publications

References 0 publications

RETRACTED: A room with a view? Investigating the Pompeian domestic space using virtual reality-based eye tracking and GIS.

RETRACTED: A room with a view? Investigating the Pompeian domestic space using virtual reality-based eye tracking and GIS.

The Material Life of Roman Slaves

Sexual Graffiti in the House of Marcus Lucretius in Pompeii (IX.3.5, 24)

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