Resurrecting Pompeii

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Book: Resurrecting Pompeii Read Online Free PDF
Author: Estelle Lazer
were found in association with these bodies. 29 In a narrow vestibule in corridor L on the other side of the west wall of this room, another ten or so, mostly adult, bodies were discovered. They appeared to have collapsed on top of each other, and their bodies were so intertwined that Maiuri stated that it was difficult to distinguish individuals. 30 They were found 2.5 metres above the ground. A large cylindrical bronze lantern was found in association with these bodies. Artificial light would have been necessary as this phase of the eruption was associated with darkness. 31
    By the time these two groups of victims tried to escape, the deposit of ash and lapilli had reached a depth where it occluded the groundfloor exits. Maiuri suggested that the group in Room 19 probably used the pick and hoe to make an opening in the wall through which they could escape. 32 Three holes that could have been made with such tools can be observed in the southern and Western walls of Room 19. 33
    Maiuri 34 stated that the group of skeletons from the vestibule were transported in their precise positions to the adjacent room where the other three bodies had been removed. The bodies from the vestibule can still be observed in a glass case at the southwest end of Room 19. In addition to the bronze lantern, the above-mentioned pick and hoe with restored wooden handles have been placed with these bodies. In 1988 I was invited to examine the skeletons in this case for a publication on the Insula del Menandro . 35
    It has been presumed in the popular literature 36 that the bodies from the vestibule were encased in situ and that they belonged to looters who had returned to Pompeii after the eruption only to be killed by poisonous fumes that had been trapped in the ash. The holes in the southern and Western walls have been cited as further evidence for this theory. The powerful imagery of these bodies in situ has been stronger than the academic literature and a number of scholars have developed theories about the skeletons, apparently without reference to the original reports.
    There is a further complication in association with these skeletal remains. Despite Maiuri’s statement that the positions of the bodies were not altered during their removal to Room 19, it became obvious on inspection that the skeletons had been manipulated. That these changes occurred in Maiuri’s time can be implied from the fact that the area around the bones was consolidated with plaster that was sprinkled with ash when it was damp, thus maintaining the impression of bones in their excavation context. This technique, which usually involves the consolidation of exposed, but only partially excavated remains, had been employed for some time in Pompeii. Some of the bones near the surface were loose. The remainder were embedded in the compacted ash and plaster. A comparison between my measured drawing of the bodies 37 and the photograph in Maiuri’s publication 38 indicates that, with few exceptions, the arrangement of the skeletons has remained unchanged since they were enclosed in the glass case. The fact that various bones were partially embedded in plaster hampered analysis of these skeletons.
    The skeleton associated with Skull Number 1 was found to have two left femora. The post-cranial remains associated with Skull Number 8 included one juvenile and one adult humerus. Skull Number 9 belonged to a young child, whilst the associated vertebrae were adult. A calcaneus had been placed where the patella should have been on the skeleton associated with Skull Number 10. This last piece of creative anatomy clearly post-dated Maiuri’s involvement, as evidenced by comparison with the photograph in his 1933 publication.
    A small rectangular pit had been dug in the northeast corner of the exhibit. This was presumably used to deposit the bones that were left over after the skeletons had been reconstructed.
    Perhaps the most remarkable alteration to the group was demonstrated by
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