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The House of the Skeleton, known in Italian as Casa dello Scheletro (III.3), is a modestly sized but architecturally intriguing ancient Roman domus (residence) in the archaeological site of Herculaneum, Italy. Situated in Insula III along Cardo III Inferiore, facing the House of the Genius, this structure occupies a prime urban plot in the lower town, near the ancient shoreline and overlooking what was once the Bay of Naples. Measuring approximately 200–300 square meters on its ground floor, it exemplifies a mid-range Roman townhouse from the late Republican to early Imperial periods, adapted through the aggregation of three smaller pre-existing buildings into a unified residence—likely by a affluent merchant or elite family seeking to consolidate property for status and functionality. Buried under pyroclastic flows and mudslides during the 79 AD eruption of Mount Vesuvius, which preserved Herculaneum's organic materials (like wood and food) better than Pompeii's ash-covered remains, the house was rediscovered through Bourbon-era tunneling and later systematic excavations. Its name derives from a human skeleton found in an upper-floor room, symbolizing the eruption's human toll. Unlike grander Herculaneum villas such as the House of the Deer or Villa of the Papyri, this site emphasizes intimate domestic spaces with religious and mythological motifs, though its preservation is uneven due to early looting and exposure. As of August 25, 2025, it forms part of the Ercolano Archaeological Park (a UNESCO World Heritage site), accessible via guided tours with entry fees around €16 for adults (free for under-18s), though upper levels remain off-limits for safety amid ongoing conservation to combat erosion and seismic risks.
The House of the Skeleton likely originated in the
2nd–1st century BC as separate Samnite-era dwellings, reflecting
Herculaneum's pre-Roman Oscan roots as a seaside resort town founded by
Greek colonists around the 6th century BC and later influenced by
Samnites and Romans. By the late Republican period (post-80 BC, after
Sulla's colonization), these were merged into a single property,
possibly by a prosperous owner capitalizing on the town's maritime trade
and elite villas. The structure survived initial seismic events,
including precursors to the 79 AD eruption, but modifications post-62 AD
earthquake (which damaged much of Campania) included reinforcements and
decorative updates that were ongoing at the time of the disaster.
Excavations began with Bourbon tunneling in 1740–1741, when explorers
accessed parts near Vicolo di Mare, removing mosaics and artifacts like
a marble table with masks, fluted column bases, and circular medallions
(oscilla) depicting mythological scenes (e.g., a boy riding a dolphin
and a dragon). A painted inscription ("Campan(us) Secundus Euplus
axbucidsfriocaphoxnemi," CIL IV 10478) was also found in January 1741.
The house's eponymous skeleton—a man who failed to flee the pyroclastic
surges—was discovered in an upper-floor room during partial excavations
in 1830–1831, prompting its naming. Full clearance occurred in 1927–1928
under Amedeo Maiuri as part of the "New Excavations" of Insulae III and
IV along Cardo IV, revealing the upper story (now ruined due to
inadequate protection) and confirming the house's composite origins.
Bourbon practices, including material removal for royal collections,
contributed to its poor modern preservation, with many elements now
housed in the National Archaeological Museum of Naples (MANN). Recent
studies emphasize its role in understanding Herculaneum's urban
evolution, though portions remain unexcavated as of 2025.
The House of the Skeleton deviates from the standard
Pompeian atrium-peristyle model, lacking a traditional impluvium
(rainwater basin) in the atrium—possibly due to space constraints or
design choices favoring decorative shrines. Instead, it features a
compact, multi-level layout formed by merging three smaller units, with
ground-floor rooms radiating from a central atrium and two courtyards
for light and ventilation. The facade along Cardo III includes a simple
entrance doorway, reflecting the town's dense urban fabric.
Entrance Corridor (Fauces): A narrow passage with a black mosaic floor
inset with triangular marble pieces leads southward into the atrium.
Atrium: The central space, approximately 6–8 meters square, lacks an
impluvium but includes two nymphaea (shrines to nymphs) against the rear
(east) wall for water features and decoration. Doorways flank it,
leading to cubicula (bedrooms) on the north and south, a tablinum
(reception room) to the east, and a triclinium (dining room) in the
northwest corner with a white mosaic floor bordered in black.
Triclinium: In the northwest corner, this room has two doorways (one to
the atrium, one to a small corridor) and a threshold, suggesting it was
used for formal dining with views of the atrium.
Tablinum and Oecus:
The tablinum connects to an oecus (parlor) with a distinctive curved,
frescoed wall and a polychrome marble floor in white, black, and antique
yellow—ideal for social gatherings.
Small Courtyard: To the north, a
modest open space with frescoed walls depicting a garden provided light;
it was roofed with an iron grate (partly preserved) to deter thieves and
birds.
Larger Courtyard: Further north, this area features a curved
niche and altar for lares (household gods), indicating ritual use.
Service Rooms: A room north of the entrance has a latrine in the
northwest corner; rustic areas include storage and possibly a kitchen.
Upper Floor: Accessed by stairs (now ruined), it included additional
bedrooms or storage; the skeleton was found here, suggesting last-minute
refuge.
Construction used opus incertum (irregular stone) for
walls, with brick reinforcements post-62 AD for seismic stability,
typical of Herculaneum's volcanic terrain adaptations.
Decorations blend Third and Fourth Pompeian Styles, emphasizing
mythological and natural motifs preserved by the eruption's mud
encasement. The entrance corridor and triclinium floors feature
geometric mosaics (black with marble insets and white with black
borders). The oecus has a curved wall fully frescoed with elaborate
scenes, now faded. The small courtyard's walls depict illusory
gardens with foliage, birds, and pendants.
The standout feature
is the nymphaeum against the atrium's east wall: a curved niche with
blue-ground mosaics (removed to MANN, inv. 10008) and a frieze of
seven panels (six surviving, three originals in MANN: inv. 9989,
10009, 10011). These depict Dionysus reclining with a panther
(central), flanked by tritons on garlands, a shepherd with a lamb,
and a supplicant with a fawn—evoking Dionysian rituals and
abundance. The larger courtyard's niche uses glass paste and mosaic
tesserae, with Dionysian panels above. A lararium in the small
courtyard incorporates mosaic, marble tesserae, and sea shells for
household worship. Vaults and sides show painted decorations, now
fragmentary.
Artifacts were primarily removed during Bourbon tunneling: mosaics
(e.g., tritons and Dionysus, MANN inv. 9989, 10009, 10011), a marble
table with masks, fluted column base, marble medallion with figures, and
oscilla (boy on dolphin, dragon). The 1831 skeleton—remains of a man
trapped by surges—remains the most poignant find, though not displayed
on-site. Other items include a painted inscription (CIL IV 10478) and
minor domestic fragments, underscoring daily life interrupted.
In
summary, the House of the Skeleton offers a window into Herculaneum's
affluent yet practical urban living, blending architecture for social
rituals with Dionysian artistry. Its incomplete excavation and faded
elements highlight preservation challenges, yet it enriches
understandings of Roman domesticity. Visitors today encounter
reproductions and ruins, with MANN holding originals for deeper study.