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The house of a Roman banker known as Lucius Caecilius Jucundus was among the many in Pompeii ruined when Vesuvius erupted, but you can now examine the grand estate as it once stood intact. Researchers at Sweden’s Lund University have digitally reconstructed the building using 3D technology, creating a video that simulates the experience of walking through the home’s many interiors, once meticulously embellished.
Just partially destroyed in 79 CE, Jucundus’s house today still retains some of its foundations, walls, and even details of decoration from mosaics to carved reliefs. In 2011 and 2012, the university’s team of archaeologists used 3D scanning technology to record a city block known as Insula V as part of the Swedish Pompeii Project, a broader, 16-year-long effort to survey and document areas of Pompeii. Jucundus’s property marks their first complete detailed reconstruction of a large house.
You can find many photographs of the ruined structure online, but this new video offers a better sense of how the wealthy banker and his family may have lived nearly 2000 years ago. In it, the walls — likely about four or five meters tall — are now fully painted so you can see the ornate detail typical of the Pompeian Third Style. At the original site, many of these walls are bare, with some frescoes now residing in museums. The digital scene also illustrates the clever design of the atrium, which would allow for plenty of light to flood the space and had a pool set in its center to collect rainwater. Bright and expansive, the room would likely have often been frequented by Jucundus’s business companions from Pompeii and Rome. Digitally reconstructed details such as a yellow money chest and decorated house altar also speak to the banker’s wealthy status.
A man of Jucundus’s standing would have received many guests and likely owned many slaves; although the video reconstruction is void of people, the tour of the estate in all its extravagance invites us to consider the flurry of activity that once filled its many rooms.
Editor’s Note: This endorsement is part of a special edition that Hyperallergic published on the ongoing legal case to return the photos of Renty and Delia Taylor to their descendants. * * * Your Honour — On April 11, 2018, The New York Times published a report on the differential outcomes for maternal and infant…
he ownership of images has a long and nuanced legal history, which has evolved dramatically in recent years as cultural standards and photographic technologies have rapidly advanced
The show, which honors the 50th anniversary of an exhibition history once ignored, continues a series of projects documenting Wilmington’s contemporary art scene.
Renty and his daughter Delia. Renty was an enslaved African, kidnapped from the Congo, sold and forced into slave labor on the South Carolina plantation of B.F. Taylor
What is the relation between possessing a person, possessing their image, and dispossessing their progeny
As a scholar of African American history and photography whose work has focused on the status of violent images in museums and archives, I fully support the validity of Ms. Tamara Lanier’s claim and the amicus brief.
Two K-12 art teachers will each receive a $1,000 cash gift and an additional $500 to put toward classroom art supplies. Nominations are due October 31.
The daguerreotypes of Renty Taylor, Delia, Drana, Alfred, Jack, George Fassena, and Jem remained in an unused storage cabinet until 1975, when it was discovered by an employee of the Peabody Museum.
I am writing in support of the amicus curiae brief submitted by Professor Ariella Aïsha Azoulay of Brown University for the full restitution of the daguerreotypes of Renty Taylor and his daughter Delia, currently held by Harvard University, to their familial descendant, Tamara Lanier.
We cannot be indifferent to the long-lasting effects of photography. The photographs at the center of Lanier v. Harvard are relentless in making Renty and Delia Taylor work and perform as slaves. The pain inflicted on them has not ceased. Photography has the capacity to propagate harm, and we have the moral obligation to interrupt…