WINNER OF THE WOLFSON HISTORY PRIZE 2008 'The world's most controversial classicist debunks our movie-style myths about the Roman town with meticulous scholarship and propulsive energy' Laura Silverman, Daily Mail The ruins of Pompeii, buried by an explosion of Vesuvius in 79 CE, offer the best evidence we have of everyday life in the Roman empire. This remarkable book rises to the challenge of making sense of those remains, as well as exploding many myths: the very date of the eruption, probably a few months later than usually thought; or the hygiene of the baths which must have been hotbeds of germs; or the legendary number of brothels, most likely only one; or the massive death count, maybe less than ten per cent of the population. An extraordinary and involving portrait of an ancient town, its life and its continuing re-discovery, by Britain's favourite classicist.

Ancient Graffiti in Context brings together papers by historians and archaeologists using graffiti as evidence to explore the Greek and Roman worlds. Illuminating such varied topics as ancient emotions, Roman children, quarry workers, and military communities, this collection demonstrates the importance of this often undervalued form of evidence.

The fortifications of Pompeii stand as the ancient city’s largest, oldest, and best preserved public monument. Over its 700-year history, Pompeii invested significant amounts of money, resources, and labor into (re)building, maintaining, and upgrading the walls. Each intervention on the fortifications marked a pivotal event of social and political change, signaling dramatic shifts in Pompeii’s urban, social, and architectural framework. Although the defenses had a clear military role, their design, construction materials, and aesthetics reflect the political, social, and urban development of the city. Their fate was intertwined with that of Pompeii. This study redefines Pompeii’s fortifications as a central monument that physically and symbolically shaped the city. It considers the internal and external forces that morphed their appearance and traces how the fortifications served to foster a sense of community. The city wall emerges as a dynamic, ideologically freighted monument that was fundamental to the image and identity of Pompeii. The book is a unique narrative of the social and urban development of the city from foundation to the eruption of Vesuvius, through the lens of the public building most critical to its independence and survival.

Offers an in-depth exploration of the only assured brothel from the Greco-Roman world, illuminating the lives of both prostitutes and clients.

Contains selection of inscriptions, from political manifestos to gladiatorial announcements, found in the ancient Roman cities of Pompeii and Herculaneum. These inscriptions, painted and incised on walls of public and private buildings, document aspects of daily life in the first century A.D. Inscriptions, particularly graffiti, were often written by less educated members of society, and as such provide a rare glimpse of common Latin. Grammatical and historical commentary * Abbreviations explained * Index of proper names.

When Mount Vesuvius erupts in 79 A.D., Tranio and his friend Livia flee from their homes in Pompeii, Italy, and run to the harbor.

When Vesuvius erupted in 79 CE, the force of the explosion blew the top right off the mountain, burying nearby Pompeii in a shower of volcanic ash. Ironically, the calamity that proved so lethal for Pompeii's inhabitants preserved the city for centuries, leaving behind a snapshot of Roman daily life that has captured the imagination of generations. The experience of Pompeii always reflects a particular time and sensibility, says Ingrid Rowland. From Pompeii: The Afterlife of a Roman Town explores the fascinating variety of these different experiences, as described by the artists, writers, actors, and others who have toured the excavated site. The city's houses, temples, gardens--and traces of Vesuvius's human victims--have elicited responses ranging from awe to embarrassment, with shifting cultural tastes playing an important role. The erotic frescoes that appalled eighteenth-century viewers inspired Renoir to change the way he painted. For Freud, visiting Pompeii was as therapeutic as a session of psychoanalysis. Crown Prince Hirohito, arriving in the Bay of Naples by battleship, found Pompeii interesting, but Vesuvius, to his eyes, was just an ugly version of Mount Fuji. Rowland treats readers to the distinctive, often quirky responses of visitors ranging from Wolfgang Amadeus Mozart, Charles Dickens, and Mark Twain to Roberto Rossellini and Ingrid Bergman. Interwoven throughout a narrative lush with detail and insight is the thread of Rowland's own impressions of Pompeii, where she has returned many times since first visiting in 1962.