First impressions: ROOM 4 (tablinum)

House of Orpheus,
threshold of room 4 (from atrium)
Photo by V. Vitale 2012

The large and elegant tablinum could be accessed from the atrium (by guestes and clients) and seen from the street (by passers by and neighbours).

The floor was decorated with a black and white mosaic. Unfortunately, it is not entirely visible anymore, so we do not know if there were more elaborate decorations in the middle of it. What can still be seen is the white background and a black double border.

Moreover, the mosaic clearly marks the change of use in the space. Even though there are no (more?) physical doors, a decorated threshold with a geometric pattern (always in b&w) identifies the passage from the atrium to the tablinum. 

House of Orpheus, plan by E. Presuhn
Representation of the view alignement

A similar feature, but with a different pattern, marks the end of the tablinum and the beginning of the garden. The garden itself appears to be not only an autonomous part of the house but also a scenographic background for the tablinum.

According to the conventional disposition of the rooms, the richest and most impressive features were always the most visible for an external (and even and accidental) observer. 

This explains why the tablinum is not at the centre of the house, but  it is visually aligned with the main entrance. The alignment can be more clearly seen on the plan published by Presuhn.

First impressions: ROOM 6

Room 6 is a relatively large room. Like room 3, it has three walls and there is no sign of a shutting door on the fourth one. The floor, that is unfortunately visible only in very small and damage bits almost entirely covered in dirt and pebbles, is very similar to the one in room 3. The similar decoration (cocciopesto with a white pattern) could point at a visual and structural relationship with room 3. However, the two spaces are not geometrically identical (or even remarkably similar). 

House of Orpheus, looking south from room 6
Photo by V. Vitale, 2012

On the contrary, room 6 shows quite a peculiar feature that I was not able to identify and that occupies almost half of the space. A ridge (high roughly 20 cm) goes along the room’s three walls and an additional feature (same hight of the ridge) closes the rectangular shape on the fourth side. 

To me, it looks to big to be a bed and too small to be a triclinium (moreover, room 10 with its view on the garden is much more likely to have been the triclinium). The potential view from the unidentified feature in room 6 is not particularly interesting. It includes part of the fountain, but without its visual interaction with the garden and the colonnade. It makes me think that it was more likely to be something to be seen than an observing point of view.

I have been suggested that it could even been a water feature, but I couldn’t find any actual evidence to support that idea.

In both the maps I have found, the feature is recorded and appears to be evenly vertically divided. However, that division is now no more visible on site. At least not to my archaeological-untrained eye.

First impressions: ROOM 3

On the south side of the atrium, going towards the tablinum, there is room 3. I couldn’t find any sign of the existence of a door (pivots etc...) but, of course, it does not mean that there wasn’t any.

Some bits of the floor made in opus signinum (or cocciopesto) are still visible and they show traces of a nice decorative pattern of white tesserae. There are no windows at all, but the room is open on the atrium. So far, I have no hypotheses about the use of this space. It looks like it is facing a similar one on the other side of the atrium (room 6). Is it possible that the two rooms were functionally or visually related?

First impressions: ROOM 1 (atrium)

House of Orpheus, south wall of the atrium
Photo by V. Vitale 2012

Room one is the big atrium. It gives light to the many rooms around it that often have no windows at all. Its doors appear to be quite tall. They are not very wide (about 115-118 cm) but, in my opinion, they give a sense of elegance end elevation to the all building.

The door on the south side of the atrium appears to be perfectly symmetrical with the door on the north side (entrance to room 7). Moreover it points out the relationship between the House of Orpheus and the little commercial-industrial complex confining with it (VI, 14, 18 and VI, 14, 19). Despite the fact that the relationship between the two spaces looks fairly evident, I haven’t found so far any explicit mention to that in the literature. 

Unlike many other rich houses in Pompeii, the House of Orpheus has no business area in the traditional sense. It looks as if the owner didn’t want to show any explicit connection with the business. On the other hand, the big door leans directly to the commercial area, and part of the house was visible (with the doors open) from the little commercial/industrial complex. 

The high door on the south side of room 1 also suggests the existence of a second door, symmetrical to the other door on the north side of the atrium (entrance to room 8). The former is no more open, but it is easy to see where it used to be. 

So far, I have no means to say if it has been closed before or after the excavation.

First impressions: ROOM 0 (entrance)

The house of Orpheus is presently closed to the public, probably because of the fragility of the surviving frescoes (progressively detaching from the masonry, possibly due to humidity and infiltrations).

House of Orpheus, looking west from the entrance
Photo by M. Amodio, 1850-60. Fratelli Alinari Collection

The house is not huge but still quite big, definitely above the average of a Pompeian dwelling. It is not situated in the very centre of the city but it is still close enough to the latter to be considered the residence of a quite rich family.

It has a relatively wide entrance with a pronounced slope, going up. This is the place where the Mosaic of the Guard  Dog used to be.

It was probably the first thing that visitors and passers by were supposed to see. But I will write more about the mosaic and its context later.

The entrance’s corridor is not straight. This is not strange in Pompeian houses and could be a strategy for the architect to lead the gaze of the observer towards the most important features of the house and to highlight their best qualities.

From the street, the view included the mosaic and, going up, the beautiful and very well preserved impluvium: white marble, a nice ridge, many details, a central hole that suggests a fountain, a marble pedestal that could have held a decorative element or an other water feature (possibly both). Behind the pedestal, there is what looks like a well, also made of elegant white marble

At the back of the water feature, the gaze falls on the large tablinum and the garden. Nicely framed by the entrance to the garden, it is possible to see the famous fresco with Orpheus and the animals. Probably, more than the mythological scene, the observer from the street was invited to look at a combination of real and painted natural elements: plants, birds and the water sources. The decorative element that might have been placed on the pedestal could have been another element of this part real and part illusional scenography.

According to my perception, the architectonical structure looks very harmonic and well balanced.

Tools

I have taken a first photographic documentation of the site with a small compact camera (Casio 10 Mpx). The quality of the outcome is not refined enough to be used as a source for the model’s texturing. Moreover, the camera only produces valuable pictures when the light conditions are very good. 

However, I am not interested in modelling and texturising the House of Orpheus how it is now (it could be relevant, for example, for conservation purposes). I am more interested in observing the architectonic features and try to understand why the different spaces of the house were organised in a certain way and what possible uses they might have allowed. Thus, my photographs have more a documenting purpose, to help me remember and visualise the characteristics of the different spaces of the house.

If I will need more detailed pictures in a future development of my project I will use a more suitable equipment.

Plan of the House of Orpheus
Courtesy of Pompeiiinpictures

Plan of the House of Orpheus
Emil Preshun

To organise and catalogue my pictures I have used, as a starting point, the numerical naming convention I have found in the map of the house available on the website pompeiinpictures.

As the website states, the map is only a reference to browse the pictures of the online collection. For this reason the map shows few inaccuracies (many rooms have “regularised” shapes, some features are omitted etc...). 

After I had already started my cataloguing, I have found a more detailed plan, published by Emil Preshun in Pompeji. Die Neuesten Ausgrabungen (available on openlibrary.org).

However, having measured the house on site with an electronic distance measurer (Bosh DLR130) I am thinking of designing a new plan with Adobe Illustrator or, as my supervisor suggested, directly with 3D Studio Max.

Orpheus and the Dog

Mosaic of the Guard Dog.
Pompeii, House of Orpheus VI, 14, 20
From British Museum website

My first idea was to choose the object and the related building to model and unify according to the results of my preliminary interviews. However, being the BM exhibition forthcoming, I could not ask the visitors (or potential visitors) which ones were the most relevant artefacts on display.

I have decided to start from the items highlight on the museum website and, among them, I have focused on the “Mosaic of a Guard Dog” from the House of Vesonius Primus (also known as The House of Orpheus).

My choice was based on the following criteria:

- I have a better knowledge of the Pompeian cityscape than the Herculaneum one. Having a limited time to complete my project, I thought it was more sensible and effective to maximise my previous experiences,

- I wanted to take hard measurements of the chosen building and it was easier for me to receive a permission for Pompeii,

- The artefacts that will be displayed are not yet in the British Museum. It was unlikely to receive special permission from the other Museums to acquire data about the items exhibited in glass cabinets, so I decided to focus on the flat ones that are easy to photograph and document even without special permissions.

- The image of the black dog is one of the most famous and it has been reproduced in  many books, guides and memorabilia.

The characteristics of the Mosaic of the Dog and the House of Orpheus made them the most sensible choice. Furthermore, an other very iconic Pompeian object that will be part of the BM exhibition such as the plaster cast of the agonising dog comes from the same House. Even though it wasn’t possible for me to acquire data about the cast of the unlucky animal, its story can be easily connected to the virtual model.

However, I am not forgetting user’s needs and expectations. I have started conducting unstructured interviews with visitors:

of the sites of Pompeii and Herculaneum

of the National Museum of Naples

of the Virtual Museum of Herculaneum (MAV)

in order to gather the first information about what different audiences think of the ancient remains and what kind of experience, real and virtual, they expect during the visit.