The

Street of Tombs and their Meanings

Annie Otto

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

mixture of public and private spaces so were Roman tombs.

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

there long enough to keep their memory alive.

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

bisellum awarded to Munatius Faustus showing an attempt to elevate their importance in

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

holding their status up for everyone who passed to see.

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.

To the memory of Gnaeus Vibrius Saturninus son of Quintus, of the

tribe Falerna; erected by his freedman Callistus.
Figure 3. HGW23 Pompeii. 1824. Illustration of tomb.
Figure 4. HGW18 Pompeii. May 2006. Front wall of tomb.
Figure 5. HGW18 Pompeii. 1884 drawing of cross section of tomb.
Figure 6. HGW04a Pompeii. May 2006. East side with reconstructed
circular aedicula on top of podium.
Figure 7. HGW04a Pompeii. 1824-27 drawing of the rear of the tomb
by P. Fumagalli.
Figure 8. HGW04a Pompeii. December 2006. Looking across tomb
from Via dei Sepolcri.
Figure 9. HGW01 Pompeii. May 2015.
Figure 10. HGW01 Pompeii. 1862 painting of tombs HGW01-HGW04.
Figure 11. HGW02 Pompeii. May 2006. Looking west towards tomb.
Figure 12. HGW02 Pompeii. May 2006. Detail of lion’s paw at south
end of tomb.
Figure 13. HGW04 Pompeii. Old postcard by Pasquale.
Figure 14. HGW03 Pompeii. May 2006. Looking west towards tomb
of M. Porcius.
Figure 15. HGW20 Pompeii. Old postcard by Trampetti. East side of
tomb.
Figure 16. HGW20 Pompeii. May 2006. West, and south sides of
marble altar with wreath.
Figure 17. HGW22 Pompeii. May 2006. Front of tomb.
Figure 18. HGW22 Pompeii. May 2010. Marble carving with a
bisellium on upper south side.
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