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Yes / The influence of the dyeing industry in Pompeii on the local economy has been under discussion since the publication by Moeller in 1976. Since no absolute answer has emerged, the question was re-examined using two additional methods, experimental archaeology and the principles of thermodynamics. A full-scale replica of a dyeing apparatus from Pompeii was constructed and used to simulate repeated dye runs, and so determine operating parameters such as the times involved to heat and cool a vat and the consumables needed. This first replica also allowed a better understanding of how the apparatus was actually used. Thermodynamic principles, which were applied to understand the successes and failures within the experimental work, suggested that the vat operated in a predictable way and enabled the operational mechanics of the vat to be established. It is now possible to use both the experimental results and the thermodynamic modelling to determine not just the consumables used, but also the working environment needed for the vat to operate, allowing an understanding of the limitations to dyeing and to workers. Issues of practicality such as storage of consumables and disposal of exhaust gases may now be thoroughly examined. 2 Eventually it will be possible to determine the operating parameters of each of the dye vats, the quantities of consumables involved and the amount that could be produced. This should help answer the question as to the significance of the dye industry in Pompeii to the local economy.

"Thesis presented June 1998, amended February 2000." / Includes bibliography. / 3 v. : ill., plans ; 30 cm. / Title page, contents and abstract only. The complete thesis in print form is available from the University Library. / This thesis demonstrates the falsity of the assumptions that ancient architects followed innate spatial cues or responses in their designs, that ancient people experienced the resulting buildings through the same responses, and that modern scholars can thus reconstruct both the intentions of the ancient architects and the architectural effects experienced by ancient visitors to ancient buildings throught the medium of their own spatial reactions. This underlying belief is contestable given its basis in unproven and untested late nineteenth century theories of perception. The thesis also demonstrates that the assumption made by modern scholars that the architects of the Forum of Pompeii were primarily concerned with uniformly enclosed space, axial symmetry, and orthogonality, is wrong, and is contradicted by the actual form of the buildings around the Forum. / Thesis (Ph.D.)--University of Adelaide, Dept. of European Studies, 2000

Thesis (Ph. D.)--University of Adelaide, Dept. of Classics, 1989? / Vol. 2. consists of 64 leaves of mounted photographs. Plate 1 is Plan of I 11, 6-7, by Barry Rowney of Dept. of Architecture, University of Adelaide. Includes bibliographical references (leaves 276-291).

This thesis draws upon modern consumption theory to provide an interpretive research framework for examining material culture and consumer behaviour in the Roman world. This approach is applied to data from twelve Pompeian households to identify patterns of consumption, materiality, and motivations for the acquisition of commodities. Analysis of the assemblage data is performed at multiple levels comprising weighted ranking of goods and the application of Correspondence Analysis, with investigation performed on both functional categories and artefact types. Setting the results against theories of consumption and rationality, consumer choice in the ancient world is examined. From this detailed examination of twelve Pompeian houses, ‘core’ and ‘fringe’ commodities and recurring suites of goods are identified. Non-luxury goods are given particular attention as they provide information concerning the consumption of everyday utility objects. This approach also allows the evaluation of statements about the state of occupation of houses in sites such as Pompeii. The results validate this form of analysis as an important tool for assessing the role of the consumer in economies of the ancient world, moving beyond concepts of conspicuous consumption and group values. This research provides a structured interpretive framework upon which varied archaeological data can be superimposed to interrogate the motivations behind commodity acquisition. This research also raises the potential for future consumption modelling using multivariate statistics. Through the application of consumer theory to Roman data, discussion of ancient economies is shifted away from a focus on production to one of demand, choice, and sites of consumption.

This dissertation expands upon previous analyses of the social functions of Pompeian domestic architecture by articulating the essential role of the peristyle garden in communicating the status of the homeowner while structuring the interactions of residents and visitors with the art and architecture both of the peristyle itself and with the house as a whole. Peristyles provided light, air, and circulation space for the home, but their aesthetic function was just as significant; embellished with painting, sculpture, fountains, and plants, peristyles were important centers of display. Although typically the largest and most lavishly decorated architectural space in a Pompeian house, the peristyle is often treated summarily in studies of Pompeian domestic architecture. This study fills a lacuna in scholarship, examining the architecture of peristyles in conjunction with the paintings, sculptural ensembles, and other features that adorned them. This synthetic approach to the material remains allows for an examination of peristyles as lived spaces rather than as collections of disparate decorative elements. The dissertation is divided into four chapters, each focusing on a specific problem related to the design and function of peristyles. The first chapter presents the characteristic architectural and decorative features of true, or fully colonnaded, peristyles in Pompeian houses. The second chapter consists of two case studies of true peristyles that demonstrate the role and function of the true peristyle within the Pompeian house. These case studies articulate the function of the peristyle relating to issues of status, access, and display in the House of the Vettii (VI.15.I) and the House of the Lovers (I.10.11). The third chapter addresses the architectural and decorative features of truncated peristyles, or those that are not fully colonnaded. This chapter also addresses differences in size, architecture, and decoration between true and truncated peristyles. The fourth chapter uses the truncated peristyles of the House of Marcus Lucretius (IX.3.5) and House of the Vettii (VI.15.1) as case studies to assess the various roles of truncated peristyles within the domestic setting. Together, these chapters bring about a more complete understanding of the social and aesthetic function of Pompeian residences and how domestic art and architecture shaped the experience of the viewer, enhanced the prestige of the owner, and affirmed social hierarchy.

Over 11,000 graffiti once covered the site of ancient Pompeii, inscribed upon many buildings in the city including houses, temples, and public buildings. Their messages include greetings, proclamations of love and desire, and bits of poetry. These inscriptions have fascinated scholars since the first walls were unearthed at Pompeii in the eighteenth century and this interest has yielded a wide array of methodologies and approaches. As archaeology has evolved over the centuries, so too has the approach to this material. The unique position of graffiti as objects of both philological and archaeological study has necessitated the need for a multidisciplinary approach. This dissertation recontextualizes Pompeian graffiti as artifacts and examines the distribution of graffiti within domestic space in Pompeii including the relationship between content and context. Specifically, this dissertation examines a corpus of graffiti from twelve buildings in Pompeii. I analyze the locations of the graffiti and the rationale for these locations using space syntax, a theory for analyzing the configuration of space. From an examination of their locations, I propose how the Pompeians used the spaces within these buildings and postulate how their use may have changed over time. This analysis indicates that, in general, Pompeians chose highly visible, accessible, and well-trafficked locations in which to write graffiti, indicating that writers of ancient graffiti, unlike many modern, wrote these messages in areas under surveillance. Visitors and inhabitants wrote them in areas where they would be seen doing so. Further analysis of the interaction between graffiti and their context shows that while these messages occupy highly visible areas, they were written in such a way as to not detract from the overall aesthetic appearance of the space. Close study of the content of the individual messages shows how the substance of the graffiti responded to the spaces in which they were written and the other graffiti written around them. This combination of archaeological and philological inquiry allows an identification of types of space and, to some degree, organization of movement within a space, which, in the absence of other artifacts, has been difficult to interpret.

Thesis (Ph.D.) -- University of Adelaide, Dept. of European Studies, 2000. / "Thesis presented June 1998, amended February 2000." Includes bibliography.

Thesis--Leyden. / Summary in English. Includes index. "Stellingen": leaf inserted. Includes bibliographical references (p. 120-129).

This thesis is a case study of the ancient graffiti found in a specific city block, the Insula of the Menander (I.X), in the ancient Roman city of Pompeii. Contrary to the late 19th and early 20th century treatment of graffiti in Pompeian scholarship, which dismissed ancient graffiti as casual inscriptions with little relevance to the archaeology of Pompeii, recent scholarship approaches ancient graffiti as artifacts, studying them within their context. Using this contextual approach, my thesis examines the spatial distribution of the graffiti in the Insula of the Menander to better understand the use of public and private space. Chapter 1 introduces the topic of ancient graffiti in context, providing a brief description of the current state of scholarship and of the history of the Insula of the Menander. Chapter 2 discusses the challenges of defining ancient graffiti, and the various approaches to their interpretation. The two hypotheses are: first, that graffiti frequency and public and private space are related, and second, that graffiti type and room function are related. Chapter 3 outlines the methodology for analyzing the graffiti in context, and introduces general comparisons of frequency and spatial distribution. Chapter 4 continues this analysis, describing the graffiti in the context of each house and unit in the insula. Chapter 5 concludes that ancient graffiti, when used along with related archaeological evidence, are an informative source for studying the conceptualization and use of public and private space in antiquity, and may be used in future studies for gaining insight into the functions of space in the Roman cultural mindset. / acase@tulane.edu