From Palaces to Pompeii: The Architectural and Social Context of Hellenistic Floor Mosaics in the

218 Pages·2015·18.21 MB·English

by  Alexis M. Christensen

Florida State University Libraries
Electronic Theses, Treatises and Dissertations The Graduate School
2006
From Palaces to Pompeii: The Architectural
and Social Context of Hellenistic Floor
Mosaics in the House of the Faun
Alexis M. Christensen
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THE FLORIDA STATE UNIVERSITY

COLLEGE OF ARTS AND SCIENCES

FROM PALACES TO POMPEII: THE ARCHITECTURAL AND
SOCIAL CONTEXT OF HELLENISTIC FLOOR MOSAICS IN
THE HOUSE OF THE FAUN

By

ALEXIS M. CHRISTENSEN

A Dissertation submitted to the
Department of Classics
in partial fulfillment of the
requirements for the degree of
Doctor of Philosophy

Degree Awarded:
Fall Semester, 2006

Copyright © 2006
Alexis M. Christensen
All Rights Reserved
The members of the Committee approve the Dissertation of Alexis M. Christensen
defended on June 30, 2006.

_________________________________
Nancy T. de Grummond
Professor Directing Dissertation

_________________________________
Marcia Rosal
Outside Committee Member

_________________________________
Daniel J. Pullen
Committee Member

_________________________________
David Stone
Committee Member

The Office of Graduate Studies has verified and approved the above named committee
members.

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This dissertation is dedicated to the memory of my grandmothers.

M. Jane Grubb, 1921-1994

and

Fonda I. Christensen, 1925-2005.

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ACKNOWLEDGEMENTS

In the course of writing my dissertation and indeed throughout my academic career I have
received no greater support and encouragement than that which I received from my parents and
professors. I can think of no more fitting words of gratitude than those of Vitruvius:

Itaque ego maximas infinitasque parentibus ago atque habeo
gratias, probantes me arte erudiendum curaverunt, et ea, quae non
potest esse probata sine litteratura encyclioque doctrinarum
omnium disciplina. cum ergo et parentium cura et praeceptorum
doctrinis auctas haberem copias disciplinarum…
- 6 praef. 4

And so I offer the greatest and most profound thanks to my
parents, as they took care that I should be taught an art, and that it
be an art which cannot be excelled at without learning and a liberal
education of all fields of education. Therefore, with the pains
taken by my parents and the teachings of my professors, I am
possessed of an abundance of knowledge…
- author’s translation

I owe the most immediate thanks to the members of my dissertation committee: Dr.
Nancy T. de Grummond, my committee chair, Dr. Daniel J. Pullen, Dr. David Stone, and Dr.
Marcia Rosal. Also, Dr. Christopher Pfaff and Dr. Svetla Slaveva-Griffin deserve my gratitude
for their advice and encouragement at the beginning and end of this process.
I cannot put a limit on the thanks I owe my parents, Charles and Ellen Christensen, for
their unconditional support of all I have accomplished both in and out of my academic career.

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They, in addition to all the members of my extended family, have offered me encouragement
throughout. In particular, my deepest gratitude goes to Audra Mayhan for getting me through
the rough patches, not to mention her unwavering support. Thanks also go to her for creating my
floor plans.
Finally, I must thank my friends at Florida State University for being there throughout
and sharing my joys and miseries: John Beeby, Britt Holderness, Harry Nielson, Wayne Rupp,
and Mary Lou Vrendenburg.

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TABLE OF CONTENTS

List of Tables ...................................................................................................... Page viii

List of Figures ...................................................................................................... Page ix

Abstract ...................................................................................................... Page xv

1. Introduction ................................................................................................ Page 1

Excavation and Architectural History of the House of the Faun................ Page 6
History of Scholarships on the Mosaics...................................................... Page 9
Methodology............................................................................................... Page 11
Organization ................................................................................................ Page 14

2. The House of the Faun and the Pompeian Usage of Hellenistic Mosaics...... Page 17

The Historical Context................................................................................ Page 18
Architectural Context.................................................................................. Page 19
Mosaics in Context..................................................................................... Page 23
Access and View......................................................................................... Page 29
Conclusion ................................................................................................ Page 39

3. Mosaics in Hellenistic Palaces and Elite Residences..................................... Page 41

Macedonian Palaces.................................................................................... Page 42
Alexandrian Palaces.................................................................................... Page 49
Pergamene Palaces...................................................................................... Page 56
Macedonian Elite Houses I: Olynthus........................................................ Page 60
Macedonian Elite Houses II: Pella.............................................................. Page 76
Elite Houses on Delos................................................................................. Page 81
Summary of Mosaic Usage......................................................................... Page 88

4. Iconography and Meaning.............................................................................. Page 90

Iconography and Theme............................................................................. Page 91
Mosaics and Paintings................................................................................. Page 97
Conclusion ................................................................................................ Page 99

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5. Conclusion ................................................................................................ Page 100

BIBLIOGRAPHY ............................................................................................... Page 188

BIOGRAPHICAL SKETCH .............................................................................. Page 200

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LIST OF TABLES

Table 1.1. Concordance of Room Numbers in the House of the Faun............... Page 104

Table 2.1. Key to Pavements and Architectural Conventions............................ Page 106

Table 2.2. Relative Asymmetry and Control Values in the House of the Faun . Page 107

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LIST OF FIGURES

Fig. 1.1. Map of the Mediterranean with Sites Discussed in the Text................ Page 108

Fig. 1.2. Plan of the House of the Faun at Pompeii............................................ Page 109

Fig. 1.3. Plan of the First Phase of the House of the Faun at Pompeii............... Page 110

Fig. 1.4. Plan of the House of the Faun at Pompeii Showing
“Nested Squares” Design. .......................................................................... Page 111

Fig. 1.5. Alexander Mosaic from Exedra 37 in the House of the Faun
at Pompeii. ................................................................................................ Page 112

Fig. 1.6. Fish Mosaic from Triclinium 35 in the House of the Faun
at Pompeii. ................................................................................................ Page 113

Fig. 1.7. Cat with Hen and Water Fowl Mosaic from Ala 30 in the House
of the Faun at Pompeii. .............................................................................. Page 114

Fig. 1.8. Lion Mosaic from Room 42 in the House of the Faun at Pompeii. ..... Page 115

Fig. 1.9. Nilotic Mosaic, Threshold Band Separating Peristyle 36 from
Exedra 37 in the House of the Faun at Pompeii. ........................................ Page 116

Fig. 1.10. Tiger Rider Mosaic from Triclinium 34 in the House of
the Faun at Pompeii. .................................................................................. Page 117

Fig. 1.11. Satyr and Nymph Symplegma Mosaic from Cubiculum 28
in the House of the Faun at Pompeii. ......................................................... Page 118

Fig. 1.12. Masks Mosaic, Threshold Band Separating Fauces 53 from
Atrium 27 in the House of the Faun at Pompeii. ....................................... Page 119

Fig. 1.13. Detail, Opus Sectile Pavement from Fauces 53 in the House of
the Faun at Pompeii. .................................................................................. Page 119

Fig. 1.14. Doves Mosaic from Ala 29 in the House of the Faun at Pompeii. .... Page 120

Fig. 1.15. View of the Impluvium in Tuscan Atrium 27 in the House
of the Faun at Pompeii................................................................................ Page 121

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