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The Romans believed that one would be forgotten after death unless they were kept
alive in the thoughts of others. Their names and lives needed to be spoken of or remembered in
order to have a continued existence in this world. After one is dead however there is no way to
continue to influence the world in a way that ensures one will be talked about for many years
to come. Instead a Roman must find a way to create a permanent reminder of their existence
that would keep others talking about them for years and years. For many Romans this
opportunity was found in their tombs. For one, their tombs would be their final resting place,
and therefore a great place to consider how you would be remembered in the time after your
death. Many tombs commemorated the life of the deceased in the decorations or inscriptions
adorning the them. When family would visit the tomb for the feast days and birthdays honoring
the deceased they would see the decorations and remember their family member and their life.
Thus continuing their existence in this world. Secondly, tombs were a constant visible reminder
of the deceased. Since tombs were outside the city, and needed to be visited frequently to
honor the dead, they were often placed as close to the city as possible. The streets leading up
to cities in the Roman Empire would have been lined with tombs. Those closest to the city
would be those of most importance, since they could afford to be close. The practice of lining
the roads to the cities with tombs presented an opportunity to the Romans. Since anyone who
entered or left the city would have to walk past their tomb the Romans took to using this as an
opportunity to be remembered, and thus vied to have the most noticeable tomb possible.
Because, to be thought of, even by passerby, meant your continued existence. This resulted in
an often bizarrely lined street of tombs leading up to most notable towns in the Roman Empire.
Not every Roman could afford to create a spectacularly unique tomb to catch the eye of all
passerby, but those who could afford a tomb did what they could to be noticed. This resulted in
a few distinct types of tombs that each reflected the deceased and sought the attention of
passerby in a certain way. The road leading to the Herculaneum Gate in Pompeii, nicknamed
the Street of Tombs, displays several examples of the different main types of tombs, each with
their own purpose. The Romans carefully considered how they would be remembered after
death, choosing tombs that reflected the way they wanted to be remembered. The Street of
Tombs has prime examples of a few styles of tombs that all would have been carefully chosen
and designed to inspire certain thoughts in those who passed them and honored the dead.
The triclinium, or dinning room, was one of the most important features of the Roman
house. This space was one only accessible to the family and those exclusive guests specially
invited. The Romans took several meals a year at the tombs of their deceased family members
to honor them on feast days and their birthdays. It is not surprising that some tombs were
created as outdoor triclinia, creating a place for family to gather and eat in the presence of the
deceased. These triclinium style tombs were often an enclosure of four walls with an entrance
gate in one, that opened to the open air triclinium in the interior. The tomb of Gnaeus Vibius
Saturninus (Fig. 1, HGW23) is one example of an outdoor triclinium styled tomb. This tomb was
created for him by his freedmen Callistus to honor him.1 The tomb models a triclinium with
1
Toynbee, J. M. C. Death and Burial in the Roman World. Ithaca, NY: Cornell University Press,
1971, 119
built in benches placed in the same fashion as they would be within the house, along with a
table in the center.2 This is where the family could have eaten meals on the days they visited
the deceased, allowing them to eat in comfort as they might in their own home. In fashioning
the tomb into a triclinium they were acting as though they would be dinning with the dead,
keeping them “alive” and a part of the family in doing so. In front of the table there was an altar
where offerings could be left, honoring the dead and their memory. This tomb had painted
interior walls, again mimicking the household triclinia keeping with the illusion that they were
having a normal meal.3 These paintings were likely to have reflected the life or
accomplishments of the deceased as a way to remember and reflect on their life. The family
would have viewed these paintings when visiting and been prompted to think of the deceased’s
life. The triclinium of the Roman house was an exclusive space only accessed by the family and
those invited, this tomb would have been the same. The triclinium being a relatively private
space within the house could have been mimicked here as only members of the family and
invited guests would have been present during their meals with the deceased. These tombs,
and the images inside them would have been meant for only those close to the dead. The
exterior was meant to be viewed, and to attract attention from those passing by, but the
interior was reserved for private remembrance. In the same way that the Roman house was a
There is one tomb located outside the Herculaneum Gate that is totally unique among
all of the others located on the Street of Tombs. The tomb is unique in shape, constructed out
2
Dunn, Jackie, and Bob Dunn. "Tombs Hgw23." Pompeii Regio I (1) Insula 8 Plan to Access
Entrances 1 to 19.
3
Toynbee, 119
of a square base on which a cylindrical drum was constructed (Fig. 4, HGW18). The drum is
hollow with niches inside for urns and remains to be stored. The cylindrical tomb could be a
reference the enormous imperial mausoleums of the emperors.4 The name of the dead who
rest here is unknown but a tried visual connection can be drawn between this tomb and those
of the emperors. Its possible that the deceased were trying to do just this, increasing their
seemed importance by using a visual connection. Even if this were not the case the tomb is
unique in shape to the tombs located outside the Herculaneum Gate of Pompeii, this alone
would have drawn the attention of passerby causing them to consider the deceased buried
Somewhat similar in shape to the cylindrical tomb are those that are formed by a large
blocky base topped with a ring of columns supporting a cone shaped roof, creating a canopy.
These circular canopies could have also had a slight reference to the circular mausoleums of the
emperors, however it is likely that the canopies sheltered statues of the dead.5 This would have
been a way of keeping the deceased’s memory alive in the minds of others by simply fixing an
image of them within passing viewers eyes. Alas time has taken its toll and the colonnades
topping these structures are often damaged or missing. One tomb is missing its colonnade
entirely but is believed to have been one of this type. This tomb is called the garland tomb
(HGE06) due to the garland decorations that adorn the blocky base. The base is all that remains
of this structure, it is a large cube-like structure atop a pedestal. The sides feature draped
4
Toynbee, 123
5
Toynbee, 125
garland reliefs shown to hang from the top.6 The canopy that would have sat atop the base is
now gone.7 Another tomb still has part of its canopy intact however. This tomb is located
directly behind the Tomb of Mamia, called the tomb of the Istacidii (Fig. 6, HGW4a). The tomb
is very large, formed of a large rectangular base with a canopy on top, portions of this remain.
The base of this tomb has half columns decorating the sides as though it were a temple. Within
the burial chamber, located on the interior of the base, there were eleven niches where urns
would have been placed. In the plot of land outside the actual tomb eleven cippi, or
gravestones, were found as well.8 The names of members of three families were found, the
Istacidii, Melissaei, and Buci. There were also many paintings on in the area of the tomb, these
had a few subjects. Three paintings were of masks and two of large cats.9 There was clearly a
lot going on at this tomb, and coinciding with its impressive size and canopy its purpose was
probably to show greatness. Those passing by would certainly notice such a structure, and likely
believe that whomever was buried there would have had to have been notable to have such a
tomb.
Right outside the Herculaneum Gate in Pompeii are several tombs made with a
particular purpose in mind. Some of these tombs, called schola, were formed of a semicircular
stone bench intended to provide a place to rest for those entering the city.10 The thought was
6
Dunn, Jackie, and Bob Dunn. "Tombs Hge06." Pompeii Regio I (1) Insula 8 Plan to Access
Entrances 1 to 19. Accessed April 30, 2018.
7
Toynbee, 126
8
Dunn, Jackie, and Bob Dunn. "Tombs Hgw04a." Pompeii Regio I (1) Insula 8 Plan to Access
Entrances 1 to 19. Accessed April 28, 2018.
9
Dunn, HGW4a
10
Dunn, Jackie, and Bob Dunn. "Tombs Hgw02." Pompeii Regio I (1) Insula 8 Plan to Access
Entrances 1 to 19. Accessed April 21, 2018.
that since you were offering passerby a place to sit all who did sit would consider those who
had provided the seat, the deceased buried there. This was a way to keep your memory alive so
long as people continued to sit at your tomb. Not all of these tombs were semicircular stone
benches, some were niches or other places to rest on the journey into the city. The tomb of
Cerrinius Restitutus (Fig. 9, HGW01) the first tomb outside the city wall offered a small niche
with benches to those entering or leaving the city. The benches were built into a wall, with
some inside a small vaulted structure in a U shape. This structure had an arched room with
three walls, the fourth being open to the road.11 On the back wall there was a space where a
statue or image of the deceased might have been placed.12 This would have given those who
sat a chance to reflect on the person buried there, thus keeping their memory alive. Cerrinius
Restitutus was an Augustalis in Pompeii who was given the space where his tomb was placed by
a vote of the city council13. Being so close to the city gate would have been an honor, especially
since this was normally reserved for elected officials, which he was not.14 He would have had to
have been a noteworthy individual with high social standing to have been given this location for
his tomb. Perhaps it was out of gratitude to the city council for giving him this location that his
tomb was made to provide a serene place for travelers to rest. The tombs of those next to
Cerrinius Restitutus also provide a seat for passerby. Immediately next to his tomb is that of
Aulus Veius, a magistrate, also given to him by the city council. His tomb is a schola with the
11
Dunn, Jackie, and Bob Dunn. "Tombs Hgw01." Pompeii Regio I (1) Insula 8 Plan to Access
Entrances 1 to 19. Accessed April 21, 2018.
12
Toynbee, 122
13
Toynbee, 122
14
Petersen, Lauren Hackworth. The Freedman in Roman Art and Art History. New York:
Cambridge University Press, 2011, 72
semicircular bench for resting. There are lion’s paws carvings ending the semicircle on both
sides.15 The tomb of Mamia, a priestess, is very similar, though smaller, and also ends in lion’s
paws. All of these tombs locations were awarded by the city council and each of the deceased
had some sort of public role.16 Being that their tombs were meant to inspire thoughts of
gratitude in those who sat there perhaps the idea was that they would continue to serve the
public even in death by providing a place to rest for the public outside the city gate.
The three aforementioned tombs locations were gifted the land they were built upon by
the city council for public service. A fourth tomb, located in between the tombs of Mamia and
Veius, was also gifted to its owner by the city council.17 However, unlike the previously
mentioned tombs it is not intended to inspire gratitude from passerby, because it does not take
the form of a resting space for travelers. Instead this tomb is modeled after an altar. Altar
tombs are the most common of the tomb varieties found on Pompeii’s Street of Tombs.18 These
tombs take the form of an altar placed atop a typically walled in base. The altar or base could
often be entered as there was a small space inside for the remains of the dead. Or the remains
were buried inside or underneath the structure. The tomb I mentioned above belongs to
Marcus Porcius and is the oldest example of an altar tomb found on the Street of Tombs.19
Marcus Porcius was one of the funders of the amphitheater of Pompeii, as such he was an
important figure in the city.20 Thus he was gifted this space by the city council. Perhaps his
15
Toynbee, 122
16
Toynbee, 122
17
Toynbee, 123
18
Toynbee, 123
19
Toynbee, 123
20
"Amphitheater." Necropolis of Nocera Gate - Parco Archeologico Di Pompei. Accessed May 7,
2018.
tomb is shaped like an altar instead of of a bench for resting because he did not require random
passerby to keep his memory alive. After all he was responsible for the city’s amphitheater and
therefore unlikely to be forgotten. Instead of ensuring his memory through the gratitude of
passerby he could afford to have a tomb honoring him in a different manner. The tomb has
been damaged by the years and volcanic eruptions so we cannot see what it once looked like.
Many alter style tombs were adorned with decorations referencing the deceased life, the sides
of the alter provided a great opportunity to showcase the dead’s accomplishments and
elements of their life. Instead of asking for gratitude from the people Marcus Porcius’s tomb
may have displayed images referencing his life and accomplishments, announcing who he was
to the passerby. The tomb of Gaius Calventius Quietus (Fig. 17, HGW20) does have reliefs
carved into the altars sides. The relief facing the street depicts a bisellum (double seat) that was
awarded to him by the city council.21 Above the image of the double seat is an inscription
stating:
“To the memory of Gaius Calventius Quietus, member of the Brotherhood of Augustus.
On account of his generosity the honour of a seat of double width was conferred upon
him by the vote of the city council and the approval of the people.”22
The inscription lets the viewer know who the tomb is for and also their
accomplishments. In telling this information those walking by may stop to consider what
generosity it was that he was awarded the honor of a bisellum. The other two sides show oak
wreaths as adornments, mainly there to catch the viewers attention leading them to the
21
Toynbee, 125
22
Dunn, Jackie, and Bob Dunn. "Tombs Hgw20." Pompeii Regio I (1) Insula 8 Plan to Access
Entrances 1 to 19. Accessed April 20, 2018.
inscription and depiction of the bench that they will actually think about. The tomb is
structured as a high base with marble steps, the altar itself being placed on top meaning the
viewer would have to look up to the tomb and its images.23 This tomb is interestingly without a
chamber for the remains of the dead, this could mean the tomb was simply erected as a
monument to keep the deceased’s memory alive, or that the remains were buried beneath the
structure.24 Other altar tombs have low walls around the base with a door within one of the
sides of the base that led to the chamber the dead was placed within. These altar tombs were
constructed as a way of declaring importance and status rather than seeking gratitude from
those passing by. They could have been erected to increase the status of themselves, or their
survivors in the view of others, allowing those surviving to move up the social ladder. The tomb
of Naevoleia Tyche was built during her lifetime to house herself and most likely her husband as
well as their freed men and women.25 Naevoleia Tyche was herself a freedwoman and thus
could only rise so far in the Roman society. This tomb and Gaius Munatius Faustus’s placement
there were probably used to elevate her social standing. One of the tombs reliefs depicts the
relation to this honor, especially since the tomb was built during her lifetime.26 Tombs could be
tools to alter perceptions and memories of people, quite literally setting some
accomplishments in stone forever. Once everyone alive had forgotten the details of the
deceased life the tombs would still be there to remind them of certain aspects, even if only
23
Dunn, HGW20
24
Toynbee, 125
25
Toynbee, 125
26
Toynbee, 125
those walking by were the ones remembering. Altar tombs were in a way altars to the
memories and lives of the people buried there, honoring the accomplishments of their lives and
The Romans wanted to be remembered after their death because it was the only way to
continue their existence in this world, though their families would remember them the
question was for how long. Death is after all eternal and their families and friends would not
live forever. The Roman’s tombs presented an opportunity to seal themselves in the thoughts
of others for as long as their tomb existed. Thus this was a chance for them to decide how they
would be remembered. The Street of the Tombs outside Pompeii is an example of the variety of
ways Romans chose to be remembered. The style of tomb chosen inspired certain thoughts in
those who passed by. Tombs had to be noticed in order of those buried there to be
remembered, the question was why they were noticed. Certain tombs, like the tomb of the
Istacidii were huge structures meant to impress and show importance. Altar tombs typically
displayed the accomplishments of the deceased. The tombs of Cerrinius Restitutus, Mamia, and
Aulus Veius, directly outside the city wall, were meant to inspire gratitude from those passing
by offering a seat for resting. The tablinum tomb was more personal for the family. Each of
these ensured that the deceased would be remembered but in a way dictated by the style of
tomb. The Romans chose the way they would be remembered, and their methods were
effective. We still look at the tombs we pass in awe, staring at the impressive ones, analyzing
the lives of those who are buried there based on the images displayed, and enjoying the seat
offered by some.
Figure 1. HGW23 Pompeii. May 2006. Front and entrance.
Figure 2. HGW23 Pompeii. May 2006. Marble plaque with Latin
inscription.
Clarke, John R. Art in the Lives of Ordinary Romans: Visual Representation and Non-elite Viewers
in Italy, 100 B.C.-A.D. 315. Berkeley, CA: University of California Press, 2003.
Dunn, Jackie, and Bob Dunn. "Tombs Hgw23." Pompeii Regio I (1) Insula 8 Plan to Access
Entrances 1 to 19. Accessed April 20, 2018.
Dunn, Jackie, and Bob Dunn. "Tombs Hgw20." Pompeii Regio I (1) Insula 8 Plan to Access
Entrances 1 to 19. Accessed April 20, 2018.
Dunn, Jackie, and Bob Dunn. "Tombs Hgw01." Pompeii Regio I (1) Insula 8 Plan to Access
Entrances 1 to 19. Accessed April 21, 2018.
Dunn, Jackie, and Bob Dunn. "Tombs Hgw02." Pompeii Regio I (1) Insula 8 Plan to Access
Entrances 1 to 19. Accessed April 21, 2018.
Dunn, Jackie, and Bob Dunn. "Tombs Hgw03." Pompeii Regio I (1) Insula 8 Plan to Access
Entrances 1 to 19. Accessed April 25, 2018.
Dunn, Jackie, and Bob Dunn. "Tombs Hgw04." Pompeii Regio I (1) Insula 8 Plan to Access
Entrances 1 to 19. Accessed April 25, 2018.
Dunn, Jackie, and Bob Dunn. "Tombs Hgw04a." Pompeii Regio I (1) Insula 8 Plan to Access
Entrances 1 to 19. Accessed April 28, 2018.
Dunn, Jackie, and Bob Dunn. "Tombs Hgw18." Pompeii Regio I (1) Insula 8 Plan to Access
Entrances 1 to 19. Accessed April 27, 2018.
Dunn, Jackie, and Bob Dunn. "Tombs Hgw22." Pompeii Regio I (1) Insula 8 Plan to Access
Entrances 1 to 19. Accessed April 30, 2018.
Dunn, Jackie, and Bob Dunn. "Tombs Hge06." Pompeii Regio I (1) Insula 8 Plan to Access
Entrances 1 to 19. Accessed April 30, 2018.
Petersen, Lauren Hackworth. The Freedman in Roman Art and Art History. New York: Cambridge
University Press, 2011.
Toynbee, J. M. C. Death and Burial in the Roman World. Ithaca, NY: Cornell University Press,
1971.