The city of Pompeii is a partially buried Roman town-city near modern Naples in the Italian region of Campania, in the territory of the comune of Pompei. The name “Pompeii” in Latin is a second declension plural (Pompeii, -orum). According to Theodor Kraus, “The root of the word Pompeii would appear to be the Oscan word for the number five, pompe, which suggests that either the community consisted of five hamlets or, perhaps, it was settled by a family group (gens Pompeia).” Along with Herculaneum, its sister city, Pompeii was destroyed and completely buried during a long catastrophic eruption of the volcano Mount Vesuvius spanning two days in 79 AD. The eruption buried Pompeii and it's residents who could not get out, under 4 to 6 meters of ash and pumice. People and animals were mummified and frozen in time. Giuseppe Fiorelli took charge of the excavations in 1860. Fiorelli realized these were spaces left by the human bodies, and so devised the technique of injecting plaster into them to perfectly recreate the forms of Vesuvius's victims. What resulted were highly accurate and eerie forms of the doomed Pompeiani who failed to escape. In their last moment of life, the expression of terror is often quite clearly visible . Pompeii was lost for over 1,500 years, before its accidental rediscovery in 1599. Since then, its excavation has provided an extraordinarily detailed insight into the life of a city at the height of the Roman Empire.
Erotic art in Pompeii and Herculaneum was discovered in the ancient cities around the bay of Naples (particularly of Pompeii and Herculaneum) after extensive excavations began in the 18th century. The city was found to be full of erotic art and frescoes, symbols, and inscriptions regarded by its excavators as pornographic. Even many recovered household items had a sexual theme. The ubiquity of such imagery and items indicates that the sexual mores of the ancient Roman culture of the time were much more liberal than most present-day cultures, although much of what might seem to us to be erotic imagery (e.g. oversized phalluses) could arguably be fertility-imagery. This clash of cultures led to an unknown number of discoveries being hidden away again. For example, a wall fresco which depicted Priapus, the ancient god of sex and fertility, with his extremely enlarged penis, was covered with plaster (and, as Schefold explains (p. 134), even the older reproduction below was locked away "out of prudishness" and only opened on request) and only rediscovered in 1998 due to rainfall.
In 1819, when King Francis I of Naples visited the Pompeii exhibition at the National Museum with his wife and daughter, he was so embarrassed by the erotic artwork that he decided to have it locked away in a secret cabinet, accessible only to "people of mature age and respected morals". Re-opened, closed, re-opened again and then closed again for nearly 100 years, it was briefly made accessible again at the end of the 1960s (the time of the sexual revolution) and was finally re-opened for viewing in 2000. Minors are still only allowed entry to the once secret cabinet in the presence of a guardian or with written permission.
So of course, like Minion, Etruscan, and Egyptian paintings. Whites repainted them to reflect what they wanted, that is, to bolster their false history. With these Pompeii frescos, though they repainted them to look like Black-skinned White people, the fact that they left them at least still Black colored, was very lucky.
The only way to see what the Pompeiians originally depicted, is to find the few Tile Murals. Tile murals, like faience in Egyptian art, is very difficult to modify without breaking, so Whites usually leave them alone. Thus they are an accurate indicator of what the ancients actually created.
Wall mural of Mercury/Priapus - between 89 B.C. and 79 A.D.
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