An illustrated guide to the erotic images of Pompeii, as depicted in wall paintings, mosaics, ceramic decoration and relief sculpture. Individual chapters focus on the depiction of the phallus, irony and parody, eroticism at banquets, in the public, private and sacred spheres.
The city of Pompeii, or Colonia Cornelia Veneria Pompeiorum, the stage of the action that takes place here, is seen by the author from the perspective of its integration in the macro-economic system of the Roman Empire. The characters that take the centre stage here are slaves, freed slaves and free citizens of low social status, distinguished from others by the place they occupy within relations of oppression and exploitation. In the pages that follow, the author brings the popular Pompeian soul to life, through its manifestations of love, sexuality, anguish and sadness. The work examines particular linguistic expression of popular Latin and, most specifically, through the graffiti written on the walls of a Roman colonial city, rendered there for the attention of the local community.
Pompeii brings back to life the city of Pompeii and the everyday existence of Roman people in a pluralistic society that provided the basis and roots of Western civilization
When Vesuvius erupted in 79 CE, the force of the explosion blew the top right off the mountain, burying nearby Pompeii in a shower of volcanic ash. Ironically, the calamity that proved so lethal for Pompeii's inhabitants preserved the city for centuries, leaving behind a snapshot of Roman daily life that has captured the imagination of generations. The experience of Pompeii always reflects a particular time and sensibility, says Ingrid Rowland. From Pompeii: The Afterlife of a Roman Town explores the fascinating variety of these different experiences, as described by the artists, writers, actors, and others who have toured the excavated site. The city's houses, temples, gardens--and traces of Vesuvius's human victims--have elicited responses ranging from awe to embarrassment, with shifting cultural tastes playing an important role. The erotic frescoes that appalled eighteenth-century viewers inspired Renoir to change the way he painted. For Freud, visiting Pompeii was as therapeutic as a session of psychoanalysis. Crown Prince Hirohito, arriving in the Bay of Naples by battleship, found Pompeii interesting, but Vesuvius, to his eyes, was just an ugly version of Mount Fuji. Rowland treats readers to the distinctive, often quirky responses of visitors ranging from Wolfgang Amadeus Mozart, Charles Dickens, and Mark Twain to Roberto Rossellini and Ingrid Bergman. Interwoven throughout a narrative lush with detail and insight is the thread of Rowland's own impressions of Pompeii, where she has returned many times since first visiting in 1962.
Pompeii is the most famous archaeological site in the world, visited by more than two million people each year. Here, acclaimed historian Beard explores what kind of town it was, and what it can reveal about "ordinary" life there.