Herculaneum South-east corner. Sacred Area and shrines.

Ercolano. Angolo sud-est. Area sacra.

Herculaneum Entrance and views across terrace       Terrace of Marcus Nonius Balbus      Suburban Baths, atrium and surrounding rooms      Suburban Baths, Waiting room, Frigidarium and Tepidarium      Suburban Baths Caldarium      Sacred Area Terrace      Shrine of Venus      Temple of four Gods      Terrace north-west corner      Ancient shoreline, arched vaults or boatsheds      Building with boat exhibition

Sacred Area Terrace

Herculaneum, April 2011.

Looking north from access roadway towards the Sacred Area, to the left of the Terrace of Marcus Nonius Balbus.

Above this area are the terraces of the Houses of the Mosaic Atrium, (left) and of the Stags, (in centre). Photo courtesy of Klaus Heese.

Herculaneum, 1957. During excavation.

Looking north-west across site from access roadway towards the Sacred Area on the south side of the terraces of the Houses of the Mosaic Atrium, and of the Stags, on right.  Photo by Stanley A. Jashemski.

Source: The Wilhelmina and Stanley A. Jashemski archive in the University of Maryland Library, Special Collections (See collection page) and made available under the Creative Commons Attribution-Non-Commercial License v.4. See Licence and use details.

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Herculaneum, May 2009. Looking north-west across the Sacred Area, centre right. Photo courtesy of Buzz Ferebee.

Herculaneum May 2009.

Looking north towards rear of House of the Mosaic Atrium, Ins, IV.30 above the Sacred Area, centre, with west end of arched buildings described as boat-sheds, below.

Photo courtesy of Buzz Ferebee.

Herculaneum, June 2012. Looking north-west towards Sacred Area, below the town walls. Photo courtesy of Michael Binns.

Herculaneum, May 2006. Looking north-west across the Sacred Area, centre right.

Herculaneum, May 2006.

Looking north-west towards rear of House of the Mosaic Atrium, Ins, IV.30 above the Sacred Area, in centre.

Below the Sacred Area, the west end of arched buildings described as boat-sheds, can be seen.  

Herculaneum, September 2015. Looking west towards the Sacred Area.

Herculaneum, September 2015. Looking west towards the Sacred Area.

The Sacred Area was a large terrace with buildings for worship, which were the shrine of Venus, and the shrine of the four gods.

Under this terrace, were six of the twelve arches of the beachfront boatsheds, in which many of the skeletons of the fugitives have been found.

Herculaneum, September 2015. Sacred Area terrace.

Doorway to room on the east end of the terrace (1 of 6), probably used as a series of service rooms, or storerooms.

Herculaneum, September 2015. Sacred Area terrace. Room 1 of 6, west end.

Herculaneum, September 2015. Sacred Area terrace. Room 1 of 6, east end.

Herculaneum, September 2015. Sacred Area terrace. Room 2 of 6.

Herculaneum, September 2015. Sacred Area terrace. Room 3 of 6.

Herculaneum, September 2015. Sacred Area terrace, looking west to doorways to rooms 4, 5 and 6.

Herculaneum, September 2015. Sacred Area terrace. Doorway to room 5 of 6.

Herculaneum, September 2015. Sacred Area terrace. Room 5 of 6.

Herculaneum, September 2015. Sacred Area terrace. Doorway to room 6 of 6.

Herculaneum, September 2015. Sacred Area terrace. Room 6 of 6, east side.

Herculaneum, September 2015. Sacred Area terrace. Room 6 of 6, west side.

Sacello di Venere. Shrine of Venus.

Herculaneum, June 2012. Looking north-west towards Sacred Area, below the town walls.

The steps to a podium, in the centre, leads to a podium outside the doorway into the Shrine of Venus.

On the left side of it, are more steps to another podium outside the Shrine of the Four Gods. Photo courtesy of Michael Binns.

According to Wallace-Hadrill –

“One of the benefactions of the great Nonius Balbus to his town was to repair the walls.

We can see how he monumentalized the southern wall towards the sea, encasing it in a ‘network’ technique of opus reticulatum that was standard in the period of Augustus (see page 22).

He may also have helped to improve the terraces beneath the walls.

In any case, his statue and funerary altar were given pride of place on one of them by the entrance to the Suburban Baths.

To the west, there had already, probably since the second century BC, been a small temple, of which the podium has been glimpsed in an excavation.

This may be the temple of the goddess Herentas Erycina, the Oscan cult name of Venus, which is mentioned in the one surviving inscription in Oscan.

It was replaced, perhaps as part of Balbus’ programme, by two small temples, probably both dedicated to Venus.

Four handsome reliefs in the style of early Greek sculpture, showing the gods Minerva, Mercury, Neptune and Vulcan, do not necessarily indicate who was worshipped.”

See Wallace-Hadrill, A. (2011). Herculaneum, Past and Future. U.K, London, Frances Lincoln Ltd., (p.166).

Herculaneum, Sacred Area terrace. 2017. Temple of Venus. Dedicatory inscription of the busts of Titus and Domitian.

According to the Epigraphic Database Roma this reads:

Vibi[d]i[a] Saturnina et A(ulus) Fu[riu]s Satu[rninus]

dedicatione imaginum Caesarum [e]t aedis V[eneris]

decurionibus et Augustalibus ((sestertios)) XX et munic[ipibus ((sestertios)) - - - et]

Veneriìs ((sestertios)) IIII dederunt.      [EDR103045]

According to Alison Cooley:

It was not just freedmen who could achieve such standing in the community. One of the most recently excavated parts of Herculaneum provides fresh evidence for the role that a freedwoman might play in civic life. Down above the harbourfront, a temple has recently been uncovered, which was dedicated to Venus. Originally constructed in the second century B.C., the temple was modified in the Augustan period, and then repaired during the early Flavian period, just a few years before being destroyed in the eruption. This temple has two monumental building-inscriptions which tell us the interesting background to this last building-phase. These inscriptions were found shattered into pieces on the beach-front, hurled there, no doubt, by the pyroclastic surges.

The first of these inscriptions states:

‘Vibidia Saturnina and Aulus Furius Saturninus, at the dedication of the portrait-busts of the Caesars [Titus and Domitian] and of the temple of Venus, gave to the town councillors and Augustales 20 sesterces each and to the townsfolk [8?] sesterces, and to the worshippers of Venus 4 sesterces.”

See Cooley, A., 2013. Social climbers at Herculaneum. Omnibus (London), Vol.65 . pp. 19-21.

Herculaneum, Sacred Area terrace. Temple of Venus.

Reconstructive drawing of second dedicatory inscription of Vibidia Saturnina and Aulus Furius Saturninus.

Drawing by Giuseppe Camodeca, courtesy of Epigraphic Database Roma.

According to the Epigraphic Database Roma this reads:

[Vibi]dia virginis l(iberta) Saturnị[na] ẹt A(ulus) Fu[rius Saturnin]us
[o]b honores sibi et suis decret[os a]ẹdem Ven[eris vetustate corr]uptam
[imp]ensa sua refectam adornaverunt pronaio a solo fa[ct]o; id[em ((sestertia)) +3?+ in Capit]oli refec=
[tio]ne contulerunt et amplius ((sestertia)) L̅I̅I̅I̅I̅ rei p(ublicae) dederunt ob flamoni[u]m et dec[urionalia ornamenta? m]aximạ      [EDR103047]

According to Alison Cooley,

This second inscription gives more information about their status, with Vibidia Saturnina being described in an unparalleled way as ‘freedwoman of a girl’.

It seems that she was elected priestess, presumably of Venus, whilst Aulus Furius Saturninus, who was probably her son, received some sort of municipal honours. The second inscription also reveals that their investment went beyond restoring this temple, stating that they also contributed money towards repairing the Capitolium.

See Cooley, A., 2013. Social climbers at Herculaneum. Omnibus (London), Vol.65, pp. 19-21.

Herculaneum, September 2015. Sacred Area terrace, looking west towards the shrine of Venus.

Herculaneum, September 2015. Sacred Area terrace, steps up to the shrine of Venus.

Herculaneum, September 2015. Sacred Area terrace, doorway to the shrine of Venus.

Herculaneum, September 2015. Sacred Area terrace, threshold of doorway to the shrine of Venus.

The floor of the shrine was a white mosaic bordered by a black band.

Herculaneum, October 2023.

Sacred Area terrace, looking west through doorway of the shrine of Venus.

Photo courtesy of Klaus Heese.

According to Maiuri –

The shrine was covered with a round vault, with walls and ceiling originally painted.

The flooring was of fine white tessellation with a black band.

The shrine was painted with grandiose topiary, perhaps interspersed with figures and emblems of one or more divinities to whom the chapel was dedicated.

The zoccolo (plinth/dado) with a black background (0.95m high) divided into panels filled with low bushes of large, lanceolate-leaved plants, and formed by a tall and thick reed-like barrier of a rich garden, on the green-blue background of the wall were bundles of palm trees and marble cups with drinking doves.

A large and precious remnant of the wall decoration remains on the short wall to the left of the door, and on the long wall on the eastern side.

From these fragments, we can obtain what the entire walls looked like.

See Maiuri, A. Ercolano, i nuovi scavi (1927-1958) (p.181-182).

Herculaneum, October 2023.

Sacred Area terrace, looking towards remaining painted decoration on west wall of the shrine of Venus.

Photo courtesy of Klaus Heese.

Herculaneum, October 2023.

Sacred Area terrace, detail from west wall at south end. Photo courtesy of Klaus Heese.

Herculaneum, October 2023.

Sacred Area terrace, detail from lower west wall at south end. Photo courtesy of Klaus Heese.

Herculaneum, April 2018. Sacred Area terrace, looking north in the shrine of Venus. Photo courtesy of Ian Lycett-King.

Use is subject to Creative Commons Attribution-NonCommercial License v.4 International.

Herculaneum, August 2013. Sacred Area terrace, looking north in the shrine of Venus. Photo courtesy of Buzz Ferebee.

Herculaneum, 1964. Sacred Area terrace, looking towards the north wall in the shrine of Venus. Photo by Stanley A. Jashemski.

Source: The Wilhelmina and Stanley A. Jashemski archive in the University of Maryland Library, Special Collections (See collection page) and made available under the Creative Commons Attribution-Non Commercial License v.4. See Licence and use details.

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Herculaneum, Altar slab, written in Oscan alphabet readable from right to left.

Now in Naples Archaeological Museum, inventory number 2540. Photo courtesy of Giuseppe Ciaramella, June 2017.

Herculaneum, detail of Oscan inscription readable from right to left written on the top of an altar slab, reading “I am of Herentas”.

Side A."I am of Herentas".

Side B. "L. Slabius (son of) L. Aucilus public meddix erected to Herentas of Eryx".

The object states that it is dedicated to Herentas, an Italic deity corresponding to Aphrodite-Venus.

Worshipped in Herculaneum, doubtlessly due to Roman influence, was the Herentas of Eryx (near Trapani), where the goddess had a very famous sanctuary, of Punic origin but also connected in the epic tradition to Rome's Trojan ancestry.

Lato A. "Sono di Herentas".

Lato B. "L Slabio (figlio di) L. Aucilo meddix pubblico a Herentas Ericina pose".

L'oggetto afferma la sua appartenenza ad Herentas, divinità italica corrispondente ad Afrodite-Venere. Ad Ercolano è venerata, certo per influenza romana, la Herentas (Venere) di Erice presso Trapani, dove la dea aveva un famosissimo santuario di origine punica ma collegato altresi, all'epos, alle ascendenze troiane di Roma.

Now in Naples Archaeological Museum, inventory number 2540. Photo courtesy of Giuseppe Ciaramella, June 2017.

Herculaneum, information card from Naples Archaeological Museum, inv. 2540 (Vetter 107).

Photo courtesy of Giuseppe Ciaramella, June 2017.

According to Guidobaldi-

“La prima sistemazione dell’area risale probabilmente all’età augustea, ma già nell’età preromana, in forme che non sono al momento note, doveva essere qui praticato almeno il culto di Venere, come testimonia l’unica iscrizione in lingua osca restituita dalla citta, quella sull’altare della dea Herentas Erycina

(Herentas è il corrispettivo osco di Venere), fatto fare da Luvkis Slabis Aukil, sommo magistrato del periodo sannitico (meddiss tuvtiks).

Gli edifici di culto furono profondamente restaurati dopo uno dei terremoti che sconvolsero l’area vesuviana nei 17 anni precedenti l’eruzione.”

See Guidobaldi, M.P. (2009). Ercolano, guida agli scavi. Electa Napoli, (p.37).

(trans:

The first arrangement of the area probably dates back to the Augustan age, but already in the pre-Roman age, in a form that is not currently known, the cult of Venus, at least, would have been practised here, as evidenced by the only inscription in the Oscan language returned from the city, the one on the altar of the goddess Herentas Erycina (Herentas was the Oscan equivalent of Venus), made by Luvkis Slabis Aukil, high Magistrate of the Samnite period (meddis tuvtiks).

The buildings of the cult were extensively restored after one of the earthquakes that devastated the Vesuvian area in the 17 years preceding the eruption.”)

Herculaneum, September 2015.

Sacred Area terrace, masonry podium/altar on the west side of the doorway of the shrine of Venus.

Sacello dei Quattro dei. Shrine of the four gods.

Restored after the earthquake in 62 A.D., the temple is dedicated to four divinities, as evidenced by the lovely archaistic reliefs, perhaps from the Augustan period (27 B.C-.14 A.D.), recently found and originally fastened to the front side of the podium standing at the back of the cell.

These depict Minerva, Neptune, Mercury and Vulcan, all divinities related to the world of manufacture, trade and crafts.

The floor of the pronaos (vestibule) and the Corinthian columns are made of cipollino marble; the cell floor is in opus sectile.

Part of the wooden structure of the roof was recently recovered, dragged onto the beach below by the force of the eruption.

Herculaneum, October 2014. Sacello dei Quattro dei. Shrine of the four gods. Sacred Area terrace.

Looking north from access roadway. Photo courtesy of Michael Binns.

Herculaneum, July 2007.

Sacello dei Quattro dei. Shrine of the four gods on the Sacred Area terrace.

Looking north from access roadway. Photo courtesy of Jennifer Stephens. ©jfs2007_HERC-8630.

Herculaneum, August 2013. Sacello dei Quattro dei. Shrine of the four gods.

Sacred Area terrace, looking north-east from south end. Photo courtesy of Buzz Ferebee.

Herculaneum, August 2013.

Sacred Area terrace, looking towards steps leading to the shrine of the Four Gods. Photo courtesy of Buzz Ferebee.

Herculaneum, August 2013.

Sacred Area terrace, looking towards corridor on east side of the shrine of the Four Gods. Photo courtesy of Buzz Ferebee.

Herculaneum, September 2015. Sacred Area terrace, looking towards the shrine of the Four Gods.

Herculaneum, April 2014. Sacred Area terrace, looking towards the shrine of the Four Gods. Photo courtesy of Klaus Heese.

Herculaneum, August 2013.

Sacred Area terrace, looking west towards steps leading to the shrine of the Four Gods. Photo courtesy of Buzz Ferebee.

Herculaneum, September 2015. Sacred Area terrace, rectangular marble slabs at wide entrance to the shrine of the Four Gods.

Herculaneum, September 2015. Sacred Area terrace, looking north in the shrine of the Four Gods.

The copies of the reliefs are thought to be hanging in their original position, fastened to the front wall of the podium.

The originals, now in Naples Museum, were recently found on the ancient beachfront, no doubt thrown there by the force of the eruption, and show Minerva, Neptune, Mercury and Vulcan. Marble columns from the shrine were also found there.

Herculaneum, August 2013. Sacred Area terrace, looking north in the shrine of the Four Gods. Photo courtesy of Buzz Ferebee.

Herculaneum, September 2015. Sacred Area terrace, steps on east end of the shrine of the Four Gods.

Originally it is thought the shrine would have had steps at either end of the podium, but at the west end the podium had been damaged by a Bourbon tunnel.

Herculaneum, August 2013.

Sacred Area terrace, detail of steps on east end of the shrine of the Four Gods. Photo courtesy of Buzz Ferebee.

Herculaneum, March 2009. Sacred Area terrace, the shrine of Four Gods.

Original reliefs of the four gods on display in Naples Museum. From the left are Vulcan, Minerva, Neptune and Mercury.

Now in Naples Archaeological Museum. Inventory number s.n.

Herculaneum, September 2009. Sacred Area terrace, the shrine of Four Gods.

Copy of reliefs of the four gods. From the left are Vulcan, Minerva, Mercury and Neptune.

Photographed at “A Day in Pompeii” exhibition at Melbourne Museum.

Herculaneum, April 2014. Sacred Area terrace, looking north in the shrine of the Four Gods.

The copies of the reliefs are thought to be hanging in their original position, fastened to the front wall of the podium.

Photo courtesy of Klaus Heese.

Herculaneum, March 2014. Sacred Area terrace, looking north in the shrine of the Four Gods.

Foto Annette Haug, ERC Grant 681269 DÉCOR.

Herculaneum, April 2018. Reproduction relief of Minerva from the shrine of Four Gods on the Sacred Area terrace.

Photo courtesy of Ian Lycett-King. Use is subject to Creative Commons Attribution-NonCommercial License v.4 International.

Herculaneum, April 2014.

Reproduction relief of Minerva from the shrine of Four Gods on the Sacred Area terrace.

Photo courtesy of Klaus Heese.

Herculaneum, August 2013. Sacred Area terrace, the shrine of Four Gods. Reproduction relief of Minerva. Photo courtesy of Buzz Ferebee.

Herculaneum, April 2018. Reproduction relief of Mercury, from the shrine of Four Gods on the Sacred Area terrace.

Photo courtesy of Ian Lycett-King. Use is subject to Creative Commons Attribution-NonCommercial License v.4 International.

Herculaneum, April 2014.

Sacred Area terrace, the shrine of Four Gods. Reproduction relief of Mercury. Photo courtesy of Klaus Heese.

Herculaneum, August 2013.

Sacred Area terrace, the shrine of Four Gods. Reproduction relief of Mercury. Photo courtesy of Buzz Ferebee.

Herculaneum, April 2018. Reproduction relief of Neptune, from the shrine of Four Gods on the Sacred Area terrace.

Photo courtesy of Ian Lycett-King. Use is subject to Creative Commons Attribution-NonCommercial License v.4 International.

Herculaneum, April 2014.

Sacred Area terrace, the shrine of Four Gods. Reproduction relief of Neptune. Photo courtesy of Klaus Heese.

Herculaneum, August 2013. Sacred Area terrace, the shrine of Four Gods. Reproduction relief of Neptune. Photo courtesy of Buzz Ferebee.

Herculaneum, April 2018. Reproduction relief of Vulcan, from the shrine of Four Gods on the Sacred Area terrace.

Photo courtesy of Ian Lycett-King. Use is subject to Creative Commons Attribution-NonCommercial License v.4 International.

Herculaneum, April 2014.

Sacred Area terrace, the shrine of Four Gods. Reproduction relief of Vulcan. Photo courtesy of Klaus Heese.

Herculaneum, August 2013. Sacred Area terrace, the shrine of Four Gods. Reproduction relief of Vulcan. Photo courtesy of Buzz Ferebee.

Herculaneum, September 2015.

Sacred Area terrace, looking towards north wall of the shrine of Four Gods.  On the left the outline of the Bourbon tunnel can be seen.

Herculaneum, July 2007. Sacred Area terrace, looking north. Photo courtesy of Jennifer Stephens. ©jfs2007_HERC-8629.

Herculaneum, August 2013. West end of shrine. Photo courtesy of Buzz Ferebee.

Herculaneum Entrance and views across terrace      Terrace of Marcus Nonius Balbus      Suburban Baths, atrium and surrounding rooms      Suburban Baths, Waiting room, Frigidarium and Tepidarium      Suburban Baths Caldarium      Sacred Area Terrace      Shrine of Venus      Temple of four Gods      Terrace north-west corner      Ancient shoreline, arched vaults or boatsheds      Building with boat exhibition