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Figure 1.

Rome, Sarcophagus of Paeus Myron and his family. Paeus Myron and his wife Aurelia Agrippina appear in toga and stola on the sarcophagus lid. On the coffin, they take the roles of Achilles and Penthesilea. The sarcophagus was also intended for their children. Four more such pieces were made for a couple. Deutsches Archäologisches Institut, Singer, neg. D-DAI-Rom 72.571.


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Figure 2.

Sarcophagus of Artimodorus and his mother Valeria. Artimodorus takes the role of Theseus, his mother that of Ariadne. Theseus is shown after his victory over the Minotaur, abandoning Ariadne on Naxos, and hunting in the company of the personification of virtue. Archäologisches Institut, Universität zu Köln, FA1054-04_4816,05.


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Figure 3.

Detail of the sarcophagus of Artimodorus and Valeria. Contrary to her gesture and the iconographic tradition of the scene, Valeria is not shown sleeping. Her eyes are open and her brows are contracted. Archäologisches Institut, Universität zu Köln, FA1068-03_4816,54.


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Figure 4.

Pompeii, wall painting following the iconographic type of Pyramus and Thisbe. In contrast to other images of the couple, the wounds of “Pyramus” suggest that he has been mauled by a lion. Deutsches Archäologisches Institut, Fuhrnann, neg. D-DAI-Rom 38.35.


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Figure 5.

Pompeii, wall painting of Pyramus and Thisbe. The image perfectly aligns with Ovid’s version of the story. Deutsches Archäologisches Institut, Bartl, neg. D-DAI-Rom 57.871.


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Figure 6.

Statuettes in lararium of the House of the Red Walls, c. 1882. From a 19th-century albumen photograph in the author’s possession.


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Figure 7.

Schematic diagram of a Pompeian house with the conventional display spaces and optimized lines of sight indicated. Drawing by the author.


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Figure 8.

Ground plan, view, and statuette from House of the Camillus. (a-b) Author photos. (c) Alinari/Art Resource, NY ART 435180.


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Figure 9.

Three oscilla (peltae and pinax) from House of Marcus Lucretius. (a-b-c) Author photos.


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Figure 10.

Bronze animals from the House of the Citharist. (a-b) Author photos.


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Figure 11.

Three oscilla (disks) from the House of the Citharist. (a-b-c) Author photos.


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Figure 12.

Amorino holding dolphin. Bronze statuette from the House of Fortune. Alinari/Art Resource, NY ART 89689.


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Figure 13.

Plan of the House of Fortune with the location of the bronze Amorino fountain. Drawing by the author.


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Figure 14.

Dancing Faun from the House of the Faun. From a 19th-century albumen photograph in the author’s possession.


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Figure 15.

Hercules statuette and base from the atrium of the House of Sallust. Author photo.


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Figure 16.

Oscillum with Hercules and the Ceryneian Hind, from the House of Diomedes. Author photo.


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Figure 17.

Dionysus statuette from the Fullonica, VII.12.17. From a 19th-century albumen photograph in the author’s possession.


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Figure 18.

View of the peristyle garden, House of the Gilded Cupids, Pompeii, first century. Photo: Alinari / Art Resource, NY ART349574.


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Figure 19.

Shrine with statuettes, north wall of the peristyle, House of the Gilded Cupids, Pompeii, first century. Photo: AFS C113 (su concessione del Ministero per i Beni e le Attività Culturali—Soprintendenza Speciale per i Beni Archeologici di Napoli e Pompei).


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Figure 20.

Isis shrine, southeast corner of the peristyle, House of the Gilded Cupids, Pompeii, first century. Photo: Stephen Petersen.


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Additional Information

ISSN
1080-6504
Print ISSN
0004-0975
Pages
pp. 1-31
Launched on MUSE
2012-09-25
Open Access
No
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