Skip to content. | Skip to navigation

Home Thematic views image gallery Model of Pompeii
Up one level
Archeological Object

Model of Pompeii

Model of Pompeii

The 1:100 scale model of Pompeii shows the appearance of the Vesuvian town in its entirety in terms of buildings and decoration as it was known until the period following the Second World War. In some respects, it represented the only record for defining certain areas damaged by the passing of time, or that had disappeared as a result of wartime events. The only parts missing from the model are the amphitheatre, the insula occidentalis and insula 2 of regio VIII, as well as the evidence that has come to light during the excavations carried out in recent decades. The large model was designed at the initiative of Giuseppe Fiorelli, inspector of excavations at Pompeii from 1861 and curator of the museum from 1863 to 1875, while the actual work was done by Felice Padiglione, son of Domenico Padiglione, who was responsible for making numerous cork models, such as the temples of Paestum or the macellum of Pozzuoli. Work proceeded constantly from 1861 to 1879, only experiencing a pause at the end of the century. Work on the model was resumed in 1908 and was entrusted to Nicola Roncicchi, who had previously made the model of Villa della Pisanella at Boscoreale. Since then the history of the model has been marked by continuous moves between Naples and Pompeii and subsequently by its division into two parts to protect it from the events of wartime until it finally found its final position in the museum in 1950. The base is made of plywood while all the upper parts are made of cork. The materials are worked with a pyrographic tool to create a perfect imitation of the various building techniques employed, while the architectural features in marble or limestone are reproduced using stucco or plaster, occasionally incorporating bone inserts. The frescoes and floors, which resemble the originals in every detail, are made using two distinctly different techniques: in the first case, the use of tempera paint on a thin layer of tin has led to the almost perfect preservation of the various details while in the second case, the choice of using watercolours on a paper base has led to greater wear over the years. The floors are made of less porous paper and were incised in the case of mosaics, while the vaults and ceilings with stucco and paintings are not stuck to the walls so that they can be raised and observed.

Further information
Codici (Label is not translated)
  Ente_competente: Soprintendenza per i Beni Archeologici delle Province di Napoli e Caserta
  SGTI: -------------------------
Localizzazione_geografico-amministrativa (Label is not translated)
  PVCS: Italia
  regione: CAMPANIA
  provincia: Napoli
  comune: Napoli
  LDCT: palazzo
  Name: Museo Archeologico Nazionale di Napoli
  Indirizzo: Piazza Museo, 19 - 80135
  LDCM: Museo Archeologico Nazionale di Napoli
  Location: First floor, Room CXVI
Altre_localizzazioni_geografico_amministrative_reperimento (Label is not translated)
  regione: CAMPANIA
  provincia: Napoli
  comune: Napoli
Altre_localizzazioni_geografico_amministrative (Label is not translated)
  TCL3: -------------------------
Dati_patrimoniali (Label is not translated)
  Inventory number: s.n. 3
Dati_tecnici (Label is not translated)
  MISU: cm.
  Height: 44.5
  Width: 81
  Length: 500
Dati_analitici (Label is not translated)
  Inscriptions - text:

Condizione_giuridica_e_vincoli (Label is not translated)
  CDGG: proprietà Stato
Fonti_e_documenti_di_riferimento (Label is not translated)

Ruesch 1722; Sampaolo 1993; De Caro 1994, p. 105; De Caro 1999, p. 133.