69:
121:. Archaeologists have been studying and recording graffiti in Pompeii since the 1800s. These documentations remain the best evidence of over 90 percent of recorded graffiti from the area, which has not survived the elements. Most of the graffiti archaeologists were able to uncover took the form of friendly messages and games that required Roman numerals. Many of these recorded graffiti were found in public areas such as stairwells and entrances. Due to the simple nature of the graffiti, many archaeologists were early to dismiss the importance of the wall writings as it concerned life in ancient Pompeii. However, this thought pattern changed with the discovery of the House of Maius Castricius.
362:
130:
179:
461:
places for graffiti are staircases, central peristyle, and vestibule. The use of graffiti by Romans has been said to be very different from the defacing trends of modern day, with the text blending into the walls and rooms by respecting the frescoes and decoration with the use of small letters. In this way, the environment influences the graffiti by subject and organization, and the graffiti in turn changes and influences the environment.
543:
an oval. When drawing family members, children differentiated them by changing the height of each figure. If the child wished to depict someone holding something, usually the torso would remain upright while the rest of the body changed position. When body parts such as ears are depicted they never come into contact with the limbs; when drawing an animal, a child would draw a humanoid figure and then draw ears on the top of their head.
100:. Other graffiti took on a more innocent nature, taking the form of simple pictures or games. Although many forms of Roman graffiti are indecipherable, studying the graffiti left behind from the Roman Period can give a better understanding of the daily life and attitudes of the Roman people with conclusions drawn about how everyday Romans talked, where they spent their time, and their interactions within those spaces.
138:
eleven graffiti containing multiple lines of poetry. For the most part, the poems are arranged vertically and respect the space of the others. This mix of original work and common phrases is not a miscellaneous group because of the number and composition; instead, it appears that a conversation has formed.
542:
Graffiti drawn by children usually follows a consistent set of rules, growing more realistic as the child ages. Their drawings consist of several regular geometrical shapes combined to create a more complex drawing; one piece of surviving graffiti shows a drawing of a human created using a cross and
338:
Another important theme that the graffiti in the Roman market holds is of a sexual nature. Some of the graffiti found is assumed to hold a mystical form as a sexual charm that either will grace the reader with pleasure or punish a former sexual partner. One particular description found at the market
268:
4 was a poem about the Greek character
Phaedra falling in love with her husband's son, Hippolytus. This graffiti found in particular was located next to a painting describing the Roman mythical version of Pompeii. Similar to the House of Maius Castricius, there have been few ways to interpret images
137:
This domestic residence shows that ancient graffiti was not limited to the public sphere, as graffiti is in modern day. This site, discovered in the 1960s, has benefited from preservation efforts, leaving the graffiti samples in their original context and remain legible. There is a unique feature of
508:
which took place there; since it often conveys the thoughts and name of the graffitist, it can help identify the people who were in the locations, and their ideas and actions. For a long time, graffiti were predominantly associated with men, however, archaeologists have discovered many inscriptions
469:
Roman graffiti could convey many different meanings. Some graffiti had political messages, some advertised products, others communicated miscellaneous information. Often-times political graffiti would appear during times of conflict, critiquing notable politicians. According to
Plutarch, Brutus was
369:
Graffiti is often meant to be seen and expects to be read. A dialogue is formed between the reader and the inscription and can be simple as they speak directly to the readers in forms such as "if anyone sits here, let him read this before everything else…" as well as "He who writes this is in love…
169:
Many of the inscriptions found in the House of Maius
Castricius that blend both image and writing have been ignored by archaeologists due to errors in the form of documentation. The methodology used by the archaeological department responsible for recording the House of Maius Castricius site have
108:
Inscriptions cover a range of topics from poems, advertisements, political statements, to greetings. There are two forms of graffiti: painted inscriptions (usually public notices) and inscribed inscriptions (spontaneous messages). Many forms of graffiti also give insight to what certain locations
460:
More than simply text and thought, Roman graffiti give insight into the use of space and how people interacted within it. Studying the motivation behind the marks reveals a trend for the graffiti to be located where people spend time and pass most frequently as they move through a space. Common
334:
in Athens discovered a nearly perfectly preserved row of columns that contain Roman graffiti. Many of the inscriptions have been interpreted by archaeologists as pertaining to
Christianity which began to become a popular religion in Athens later in the Roman Empire. Other inscriptions include
436:
Examples of handwritten alphabets are common graffiti in
Pompeii and could be evidence of children practicing their alphabet. This lends to the argument that children were responsible for much of the graffiti. However, the height of the inscriptions and location may contradict this.
524:
Typical techniques when studying graffiti include drawing each inscription and taking photographs if special attention is required. When only a shadow of the engravings is visible to the naked eye, other methods of observance are needed to decipher the engravings. Using 3D laser
428:) and riddles are also common forms of the culture of graffiti. In addition to this, many games played through graffiti also use numbers through the use of Roman numerals. These show a level of mental agility and flexibility of language.
449:
wrote of graffiti: "There is nothing written in them which is either useful or pleasing – only so-and-so 'remembers' so-and-so, and 'wishes him the best', and is 'the best of his friends', and many things full of such ridiculousness".
529:
to analyze the roughness of a surface, archaeologists have been able to determine the tools used in engraving. This technique merged with photographs taken with oblique light, different lighting conditions, and results from
1096:
236:
notes that there are more than fifty examples of graffiti referring to Virgil in
Pompeii alone, but also notes that the majority of the references are to the opening lines of Book 1 or Book 2 of the
1260:
1247:
1113:
Montani, Isabelle, et al. "Analysis of Roman
Pottery Graffiti by High Resolution Capture and 3D Laser Profilometry." Journal of Archaeological Science 39.11 (2012): 3349.Web
1228:
318:
graffiti has been assumed by archaeologists to have been used for listing sexual partners, describing sexual conduct, and prostitution specifically locations of brothels.
170:
focused on primarily deciphering the Latin and Greek texts of the graffiti but have no clear way of interpreting images that have no clear description accompanying them.
1215:
743:
Benefiel, Rebecca R. "Dialogues of
Ancient Graffiti in the House of Maius Castricius in Pompeii." American Journal of Archaeology 114.1 (2010): 59-101. Web. 3 Nov. 2015.
273:
4 graffiti to show that Roman citizens possibly were able to understand art in a refined manner, both for the literary reference as well as the painting of
Pompeii.
621:
88:, including taverns and houses, as well as on pottery of the time. In many cases the graffiti tend toward the rude, with a line etched into the basilica in
1273:
513:
1388:
1286:
1202:
784:
754:
509:
that indicate that women were also involved in their making, which is critical as it raises new light on women’s literacy. American classical
288:, a Latin translation of the Greek word for beauty. Initially starting as a form of praise for upstanding citizens in Greek pottery,
890:
Benefiel, Rebecca R. "Magic
Squares, Alphabet Jumbles, Riddles and More: The Culture of Word-Games among the Graffiti of Pompeii."
1265:
373:
There are also dialogues where one passage answers another. These responses take the forms of greetings, insults, prayers, etc.
1368:
1082:
1058:
1033:
1012:
991:
970:
97:
68:
84:) is a mark, image or writing scratched or engraved into a surface. There have been numerous examples found on sites of the
1436:
632:
1154:
688:
1252:
946:
794:
764:
1233:
322:
helps us understand some typical graffiti writings that citizens of Pompeii might have had strong association with.
335:
possible names of writers that vary from common Roman names to cryptic Roman names most likely to hide the author.
1477:
1184:
554:
531:
471:
352:
fellate and not do anything for pleasure with another man, if it is not me alone, Ammonion, son of Hermitaris.
516:
explains, that we find more male names, simply because men would be interacting more in the public spheres.
1492:
1405:
1487:
1482:
1220:
346:
and the horns of the ram and the poison of the asp and the whiskers of the cat and the forepart of the
1337:
343:
I bind you, Theodotis, daughter of Eus, to the tail of the snake and to the mouth of the crocodile
292:
found its way into becoming a popular Pompeian graffiti writing sometime during the first-century.
497:
is mentioned, as well as two women named Valentina and Lusta. Roman graffiti also often contained
1147:
780:
233:
349:
god so that you cannot ever have intercourse with another man nor be f***** nor be buggered nor
81:
258:
One finding in Pompeii that was uncommon was a literary-based inscription referring to Ovid's
1400:
1373:
1278:
1050:
1178:
1097:"Largest Collection of Ancient Graffiti Ever Found in Pompeii. Some Are Hysterically Funny"
8:
908:
626:
582:
243:
1315:
1310:
1291:
1140:
870:
839:
831:
710:
670:
505:
498:
453:
Twenty-first century scholars have found more to study and enjoy in the visual art and
835:
811:
1421:
1352:
1078:
1054:
1029:
1008:
987:
966:
942:
843:
790:
760:
577:
572:
504:. Archaeologists can use the amount of graffiti in an area to determine the level of
1456:
1320:
1207:
823:
559:
1451:
1446:
1383:
1347:
936:
932:
454:
1026:
The Archaeology of Sanitation in Roman Italy: Toilets, Sewers, and Water Systems
284:
One popular term found in many of the discovered graffiti walls in Pompeii was
1471:
1426:
1378:
1342:
558:
in a particular scene where the character Brian is forced to write in Latin "
494:
1441:
1332:
1196:
904:
827:
526:
425:
129:
85:
50:
40:
1327:
1241:
1190:
510:
361:
331:
242:, suggesting that these lines may have been widely known in the fashion "
874:
858:
714:
702:
674:
658:
1431:
226:, the goddess who has been said to be protector over the profession of
117:
Over 11,000 graffiti samples have been uncovered in the excavations of
894:. Vol. 305. Berlin, Boston: De Gruyter, 2012. 65-80. Web. 4 Nov. 2015.
1163:
475:
215:
191:
178:
133:
Sample of poetry from stairwell of House of Maius Castricius, Pompeii
1047:
Multisensory Living in Ancient Rome: Power and Space in Roman Houses
1132:
501:
446:
260:
77:
25:
223:
199:
118:
93:
89:
60:
487:
483:
238:
195:
187:
182:
Three inscriptions referring to the opening line of the Aeneid
339:
in particular is a curse placed on a woman by a former lover:
227:
30:
479:
173:
534:
have increased the readability of illegible inscriptions.
812:"Encountering Ovid's Phaedra in House V.2.10–11, Pompeii"
659:"Some Inscribed Graffiti in the Roman Market in Athens"
296:
was typically used before someone's name, for example:
493:
Some graffiti includes names. At Pompeii a man named
414:
a guy who could beat you up and who is good-looking.
396:
Innkeeper, whose name is Iris. She doesn't care about
394:
Successus the weaver is in love with the slave of the
963:
Graffiti and the Literary Landscape in Roman Pompeii
938:
Graffiti and the Literary Landscape in Roman Pompeii
194:
verse. On the doorpost of the shop near pictures of
269:to graffiti; however, archaeologists have used the
752:
410:You're so jealous you're bursting. Don't tear down
398:him at all, but he asks that she take pity on him.
1389:Conservation and restoration of Pompeian frescoes
160:Beautiful girl, you seek the kisses that I stole.
1469:
856:
789:. W. W. Norton & Company. pp. 369–370.
486:notes that people would draw graffiti insulting
186:An example here demonstrates a familiarity with
931:
809:
691:." Smithsonian, 26 July 2010. Web. 3 Nov. 2015.
1073:Baird, Jennifer; Taylor, Claire (2010-10-18).
1148:
756:Constructing Literature in the Roman Republic
552:Roman graffiti was parodied in the 1979 film
482:after they saw graffiti criticizing him, and
162:Receive what I was not alone in taking; love.
903:
382:non curat sed ille rogat illa com(m)iseretur
206:Fullones ululamque cano, non arma virumque.
124:
92:reading "Lucilla made money from her body,"
886:
884:
859:""Calos" graffiti and "infames" at Pompeii"
478:also records that the public began to hate
214:I sing of cloth-launderers and an owl, not
1155:
1141:
863:Zeitschrift für Papyrologie und Epigraphik
779:
739:
737:
735:
733:
731:
663:Zeitschrift für Papyrologie und Epigraphik
378:Successus textor amat coponiaes ancilla(m)
1094:
325:
881:
622:"What Can We Learn from Roman Graffiti?"
360:
177:
174:Outside the shop of Fabius Ululitremulus
146:vasia quae rapui, quaeris formosa puella
128:
67:
1024:Koloski-Ostrow, Ann Olga (2015-04-06).
728:
631:. Telegraph Media Group. Archived from
615:
613:
1470:
689:Reading the Writing on Pompeii's Walls
1369:Erotic art in Pompeii and Herculaneum
1136:
1095:Madenholm, Terry (30 November 2021).
1069:
1067:
810:Swetnam-Burland, Molly (April 2015).
700:
619:
601:
148:accipe quae rapui non ego solus; ama.
1162:
759:. Cambridge University. p. 20.
656:
652:
650:
610:
519:
419:
330:An archaeological excavation of the
249:
141:One passage on the staircase reads:
1261:Art of Diocletian and the tetrarchy
1126:. Handmade Films. (Motion Picture).
546:
103:
13:
1064:
982:Hanson-Harding, Alexandra (2004).
703:"Graffiti on the Walls in Pompeii"
405:A response to this translates to:
370:and I who reads this am a prick."
164:Whoever loves, may she fare well.
109:acted as during the Roman Empire.
14:
1504:
1005:Pompeii: The Life of a Roman Town
647:
276:
857:Levin-Richardson, Sarah (2015).
701:Bower, Bruce (30 January 2010).
380:nomine Hiredem quae quidem illum
1185:Augustan and Julio-Claudian art
1122:Jones, Terry (17 August 1979).
1116:
1107:
1088:
1039:
1018:
997:
976:
955:
925:
897:
850:
816:American Journal of Archaeology
786:SPQR: A History of Ancient Rome
620:Mount, Harry (1 October 2013).
532:electrostatic detection devices
16:Aspect of ancient Roman culture
803:
773:
746:
694:
681:
606:. Cambridge, Mass: Harvard UP.
595:
1:
1045:Platts, Hannah (2019-11-28).
588:
537:
440:
555:Monty Python's Life of Brian
356:
7:
1248:Art in the age of Gallienus
1075:Ancient Graffiti in Context
753:Sander M. Goldberg (2005).
566:
464:
431:
72:Inscription on wall plaster
10:
1509:
1229:Art in the age of Commodus
1003:Beard, Mary (2010-07-09).
222:The owl is a signifier of
112:
1414:
1361:
1303:
1216:Art of the early Antonini
1171:
961:Milnor, Kristina (2014).
913:Times Literary Supplement
602:Knapp, Robert C. (2011).
472:assassinate Julius Caesar
125:House of Maius Castricius
76:In archaeological terms,
56:
46:
36:
24:
495:Decimus Lucretius Valens
1415:Art in related cultures
445:Writing around 100 AD,
1478:Graffiti (archaeology)
836:10.3764/aja.119.2.0217
828:10.3764/aja.119.2.0217
657:Hoff, Michael (2006).
417:
412:someone more handsome―
403:
387:
366:
354:
326:Roman Market in Athens
312:
310:"beautiful Castrensis"
304:
220:
208:
183:
167:
153:
134:
73:
1374:Fayum mummy portraits
1051:Bloomsbury Publishing
407:
391:
384:scribit rivalis vale
375:
364:
341:
308:
298:
212:
204:
181:
157:
155:Which translates to:
150:quisquis amat valeat
143:
132:
71:
1179:Roman Republican art
909:"Ancient vandalism?"
907:(10 December 2014).
365:Inscription dialogue
1493:Textual scholarship
1437:Early Christian art
1028:. UNC Press Books.
583:Alexamenos graffito
457:of Roman graffiti.
400:A rival wrote this
244:To be, or not to be
96:images, as well as
21:
1488:Latin inscriptions
1316:Roman funerary art
1311:Roman architecture
986:. Scholastic Inc.
877:– via JSTOR.
846:– via JSTOR.
687:Ohlson, Kristin. "
677:– via JSTOR.
506:social interaction
474:by such writings.
367:
301:"calos Castrensis"
246:" is known today.
184:
135:
74:
37:Geographical range
19:
1483:Ancient Roman art
1465:
1464:
1422:Ancient Greek art
1353:Roman portraiture
1274:Constantinian art
1172:Roman art periods
1083:978-1-136-89464-0
1059:978-1-350-11432-6
1034:978-1-4696-2129-6
1013:978-1-84765-064-1
1007:. Profile Books.
992:978-0-439-05920-6
971:978-0-19-968461-8
635:on 1 October 2013
578:Lupanar (Pompeii)
573:Kalos inscription
520:Studying graffiti
420:Games and riddles
66:
65:
1500:
1457:Late Antique art
1321:Roman sarcophagi
1295:
1282:
1269:
1256:
1237:
1224:
1211:
1181:(509 BC - 27 BC)
1157:
1150:
1143:
1134:
1133:
1127:
1120:
1114:
1111:
1105:
1104:
1092:
1086:
1071:
1062:
1043:
1037:
1022:
1016:
1001:
995:
980:
974:
959:
953:
952:
929:
923:
922:
920:
919:
901:
895:
892:The Muse at Play
888:
879:
878:
854:
848:
847:
807:
801:
800:
777:
771:
770:
750:
744:
741:
726:
725:
723:
721:
698:
692:
685:
679:
678:
654:
645:
644:
642:
640:
617:
608:
607:
604:Invisible Romans
599:
547:In popular media
514:Rebecca Benefiel
210:Translating to:
104:Graffiti samples
22:
18:
1508:
1507:
1503:
1502:
1501:
1499:
1498:
1497:
1468:
1467:
1466:
1461:
1452:Hellenistic art
1447:Gallo-Roman art
1410:
1384:Pompeian Styles
1357:
1348:Roman sculpture
1299:
1289:
1276:
1263:
1250:
1231:
1218:
1205:
1187:(44 BC - 69 AD)
1167:
1161:
1131:
1130:
1121:
1117:
1112:
1108:
1093:
1089:
1072:
1065:
1044:
1040:
1023:
1019:
1002:
998:
981:
977:
960:
956:
949:
933:Kristina Milnor
930:
926:
917:
915:
902:
898:
889:
882:
855:
851:
808:
804:
797:
778:
774:
767:
751:
747:
742:
729:
719:
717:
699:
695:
686:
682:
655:
648:
638:
636:
618:
611:
600:
596:
591:
569:
549:
540:
522:
467:
455:intertextuality
443:
434:
422:
416:
413:
411:
402:
399:
397:
395:
389:Translates to:
386:
383:
381:
379:
359:
328:
282:
256:
176:
166:
163:
161:
152:
149:
147:
127:
115:
106:
98:erotic pictures
17:
12:
11:
5:
1506:
1496:
1495:
1490:
1485:
1480:
1463:
1462:
1460:
1459:
1454:
1449:
1444:
1439:
1434:
1429:
1424:
1418:
1416:
1412:
1411:
1409:
1408:
1403:
1398:
1396:Roman graffiti
1393:
1392:
1391:
1381:
1376:
1371:
1365:
1363:
1362:Related topics
1359:
1358:
1356:
1355:
1350:
1345:
1340:
1338:Roman painting
1335:
1330:
1325:
1324:
1323:
1313:
1307:
1305:
1301:
1300:
1298:
1297:
1287:Theodosian art
1284:
1271:
1258:
1245:
1239:
1226:
1213:
1200:
1194:
1188:
1182:
1175:
1173:
1169:
1168:
1160:
1159:
1152:
1145:
1137:
1129:
1128:
1115:
1106:
1087:
1063:
1038:
1017:
996:
975:
965:. OUP Oxford.
954:
947:
941:. OUP Oxford.
924:
896:
880:
849:
822:(2): 217–232.
802:
795:
772:
765:
745:
727:
693:
680:
646:
609:
593:
592:
590:
587:
586:
585:
580:
575:
568:
565:
564:
563:
560:Romans go home
548:
545:
539:
536:
521:
518:
466:
463:
442:
439:
433:
430:
424:Word squares (
421:
418:
408:
392:
376:
358:
355:
327:
324:
306:translates to:
281:
275:
255:
248:
216:arms and a man
175:
172:
158:
144:
126:
123:
114:
111:
105:
102:
64:
63:
58:
54:
53:
48:
44:
43:
38:
34:
33:
28:
20:Roman graffiti
15:
9:
6:
4:
3:
2:
1505:
1494:
1491:
1489:
1486:
1484:
1481:
1479:
1476:
1475:
1473:
1458:
1455:
1453:
1450:
1448:
1445:
1443:
1440:
1438:
1435:
1433:
1430:
1428:
1427:Byzantine art
1425:
1423:
1420:
1419:
1417:
1413:
1407:
1406:Tintinnabulum
1404:
1402:
1399:
1397:
1394:
1390:
1387:
1386:
1385:
1382:
1380:
1379:Neoclassicism
1377:
1375:
1372:
1370:
1367:
1366:
1364:
1360:
1354:
1351:
1349:
1346:
1344:
1343:Roman pottery
1341:
1339:
1336:
1334:
1331:
1329:
1326:
1322:
1319:
1318:
1317:
1314:
1312:
1309:
1308:
1306:
1302:
1293:
1288:
1285:
1280:
1275:
1272:
1267:
1262:
1259:
1254:
1249:
1246:
1243:
1240:
1235:
1230:
1227:
1222:
1217:
1214:
1209:
1204:
1203:Hadrianic art
1201:
1198:
1195:
1192:
1189:
1186:
1183:
1180:
1177:
1176:
1174:
1170:
1165:
1158:
1153:
1151:
1146:
1144:
1139:
1138:
1135:
1125:
1124:Life of Brian
1119:
1110:
1102:
1098:
1091:
1084:
1080:
1077:. Routledge.
1076:
1070:
1068:
1060:
1056:
1052:
1048:
1042:
1035:
1031:
1027:
1021:
1014:
1010:
1006:
1000:
993:
989:
985:
979:
972:
968:
964:
958:
950:
948:9780199684618
944:
940:
939:
934:
928:
914:
910:
906:
900:
893:
887:
885:
876:
872:
868:
864:
860:
853:
845:
841:
837:
833:
829:
825:
821:
817:
813:
806:
798:
796:9781631491252
792:
788:
787:
782:
776:
768:
766:9780521854610
762:
758:
757:
749:
740:
738:
736:
734:
732:
716:
712:
708:
704:
697:
690:
684:
676:
672:
668:
664:
660:
653:
651:
634:
630:
628:
627:The Telegraph
623:
616:
614:
605:
598:
594:
584:
581:
579:
576:
574:
571:
570:
561:
557:
556:
551:
550:
544:
535:
533:
528:
527:profilometers
517:
515:
512:
507:
503:
500:
496:
491:
489:
485:
481:
477:
473:
470:convinced to
462:
458:
456:
451:
448:
438:
429:
427:
415:
406:
401:
390:
385:
374:
371:
363:
353:
350:
347:
344:
340:
336:
333:
323:
321:
317:
311:
307:
303:
302:
297:
295:
291:
287:
279:
274:
272:
267:
263:
262:
253:
247:
245:
241:
240:
235:
231:
229:
225:
219:
217:
211:
207:
203:
201:
197:
193:
189:
180:
171:
165:
156:
151:
142:
139:
131:
122:
120:
110:
101:
99:
95:
91:
87:
83:
79:
70:
62:
59:
55:
52:
49:
45:
42:
39:
35:
32:
29:
27:
23:
1442:Etruscan art
1395:
1333:Roman mosaic
1197:Trajanic art
1123:
1118:
1109:
1100:
1090:
1074:
1046:
1041:
1025:
1020:
1004:
999:
984:Ancient Rome
983:
978:
962:
957:
937:
927:
916:. Retrieved
912:
905:Emily Gowers
899:
891:
866:
862:
852:
819:
815:
805:
785:
775:
755:
748:
718:. Retrieved
707:Science News
706:
696:
683:
666:
662:
637:. Retrieved
633:the original
625:
603:
597:
553:
541:
523:
492:
468:
459:
452:
444:
435:
426:magic square
423:
409:
404:
393:
388:
377:
372:
368:
351:
348:
345:
342:
337:
329:
319:
315:
313:
309:
305:
300:
299:
293:
289:
285:
283:
277:
270:
265:
259:
257:
251:
237:
232:
221:
213:
209:
205:
202:is written:
185:
168:
159:
154:
145:
140:
136:
116:
107:
86:Roman Empire
75:
51:Ancient Rome
41:Roman Empire
1401:Roman music
1328:Roman glass
1296:(379 - 395)
1290: [
1283:(312 - 337)
1277: [
1270:(284 - 312)
1264: [
1257:(253 - 268)
1251: [
1244:(193 - 253)
1242:Severan art
1232: [
1225:(138 - 180)
1219: [
1212:(117 - 138)
1206: [
1191:Flavian art
869:: 274–282.
669:: 176–182.
511:epigraphist
332:Roman Agora
80:(plural of
57:Major sites
1472:Categories
1432:Coptic art
1238:(180 -192)
1199:(98 - 117)
918:2016-02-04
781:Mary Beard
720:4 November
639:3 November
589:References
538:Appearance
441:Commentary
234:Mary Beard
1193:(69 - 96)
1164:Roman art
844:191820393
502:innuendos
476:Suetonius
357:Dialogues
192:hexameter
935:(2014).
875:43909924
783:(2015).
715:27760086
675:20191037
567:See also
490:' wife.
465:Purposes
447:Plutarch
432:Children
280:graffiti
271:Heroides
266:Heroides
261:Heroides
252:Heroides
228:fullones
82:graffito
78:graffiti
26:Language
1101:Haaretz
250:Ovid's
224:Minerva
200:Romulus
119:Pompeii
113:Pompeii
94:phallic
90:Pompeii
61:Pompeii
1166:topics
1081:
1057:
1032:
1011:
990:
969:
945:
873:
842:
834:
793:
763:
713:
673:
499:sexual
488:Verres
484:Cicero
239:Aeneid
196:Aeneas
188:Virgil
47:Period
1304:Types
1294:]
1281:]
1268:]
1255:]
1236:]
1223:]
1210:]
871:JSTOR
840:S2CID
832:JSTOR
711:JSTOR
671:JSTOR
320:Calos
316:calos
294:Calos
290:calos
286:calos
278:Calos
31:Latin
1079:ISBN
1055:ISBN
1030:ISBN
1009:ISBN
988:ISBN
967:ISBN
943:ISBN
791:ISBN
761:ISBN
722:2020
641:2015
480:Nero
314:The
198:and
190:and
867:195
824:doi
820:119
667:155
264:4.
1474::
1292:it
1279:it
1266:it
1253:it
1234:it
1221:it
1208:it
1099:.
1066:^
1053:.
1049:.
911:.
883:^
865:.
861:.
838:.
830:.
818:.
814:.
730:^
709:.
705:.
665:.
661:.
649:^
624:.
612:^
562:".
230:.
218:.
1156:e
1149:t
1142:v
1103:.
1085:.
1061:.
1036:.
1015:.
994:.
973:.
951:.
921:.
826::
799:.
769:.
724:.
643:.
629:'
254:4
Text is available under the Creative Commons Attribution-ShareAlike License. Additional terms may apply.
.jpg)