The Villa of the Mysteries is one of the most well known buildings in the historic area around Mount Vesuvius. It is not situated within Pompei itself, lying around 500 metres northwest of the main city. Believed to be a suburban villa, which were commonplace in Roman times, it can easily be reached on foot from the centre of Pompei. Admission into the city centre will usually allow access to the villa, as well as the nearby settlement of Herculaneum.

The villa is one of the best preserved buildings in the Pompei area, as it suffered little damage during either the 62 AD earthquake or the tremors prior to the eruption of Vesuvius seventeen years later. The walls of the building are lined with some of the best kept and most detailed frescoes surviving from the Roman era. The Villa of the Mysteries earned its name from the unusual paintings on the walls of the triclinium, a formal dining hall found in most Roman villas.

The frescoes in the dining hall appear to show some form of ritual, although nobody is certain of its purpose. One theory suggests the woman pictured in the frescoes is being inducted into the cult of Dionysus. An alternative idea put forward is that the paintings show an ancient marriage ritual. The dining hall also features well preserved serving areas, which may have been used to make wine and olive oil.

The Forum Baths are one of four bath houses discovered in the ruined city of Pompei. Along with the Central, Stabian and Suburban Baths, they have given a fascinating insight into the importance of public baths in Roman life. With little in the way of bathing facilities found inside private dwellings, it appears that bathing in these buildings would have been a daily ritual for many citizens. The Forum Baths were not the largest or most decorated in the city, but survived the 62 AD earthquake relatively unscathed, and as a result were the only baths still in use when the city was destroyed.

The Forum Baths are located opposite the Temple of Fortuna Augusta in the centre of Pompei. Divided into men’s and women’s sections, this compact bath house contained all of the features found in larger public baths, including a frigidarium, where customers could take a cold bath. The apodyterium, or changing room, is notable for its high barrel vaulted roof, complete with a skylight. The caldarium, which contained hot baths, was heated by warm air circulated within cavities in the walls. The room also features a marble labrum bath which allows bathers to cool off after bathing.

The Macellum of Pompei was built alongside the Forum, in order to provide further space for the city’s growing central market. The existing building was constructed in approximately 130 BC, replacing the original macellum building. Built around a central courtyard, the north and south sides both hold twelve separate units for the sale of foodstuffs.

Upon discovering the large, columned building, archaeologists at first believed it to be a pantheon – a central temple for the worship of many gods. It was only after the discovery of fish bones and jarred fruits underneath the ash that it became clear this building was used as a market. It is believed that permanent stalls were set up on the north side, hidden for much of the day from the sun. These stores sold fruit, nuts and bread, amongst other things. The stalls on the south side were used by local traders to sell meat and fish. There is a well in the centre of the courtyard, which was used by vendors to clean and gut fish.

The Macellum had three entrances – the southern entrance is notable for the checkerboard patterned wall adjacent to it. It is considered to be the finest quality wall constructed during the Roman era of Pompei. At the back of the market, there is a mysterious room, which was used as a shrine. There has been much debate over the paintings and statues found there. The latest and most widely accepted theory is that they depict Emperor Augustus Caesar, as well as local figures that commanded respect within the town.

The Temple of Jupiter sits at the northern end of the Forum, a large open space once used as a market place. Also known as the Capitolium, it was a place of worship for Jupiter, the Roman ruler of the Gods and protector of Rome. Temples dedicated to Jupiter were considered the centres of Roman religion. This temple, built in the mid 2nd century BC, marked the passing of Pompei into the Roman Empire. Pompei was originally a Greek settlement, and was later ruled by the Samnites. Originally occupied by Romans in 310 BC, it maintained a degree of autonomy, with many Greek gods worshipped more fervently than those followed in Rome.

A failed revolt in 89 BC led to a more forceful implementation of Roman language, culture and law in Pompei. This saw Jupiter become the town’s highest God, and his temple the centre of Pompeian worship. It later also became a place of worship for Juno and Minerva, who together with Jupiter formed the Capitoline Triad of Gods. The temple dominates one side of the forum, and is built in traditional Italic style, with a cella at the centre housing statues of the Capitoline Triad. A bronze bust of Jupiter can be seen at the northern end of the temple. A chamber below the temple housed sacrificial offerings and the city’s treasury.

The Forum, a feature present in many Roman settlements, was a public space found at the centre of Pompei. It stands in the middle of a square, which contains several of the town’s most significant buildings. From the southern end of the forum, moving clockwise, there are the Basilica, the Temple of Apollo, the grain and food markets, the sanctuary, the temple of Vespasian, the building of Eumachia, and the Comitium.

It is safe to assume that the Forum was at one time the centre of Pompei. It stands on the junction of two Roman roads, linking Pompei with Naples and the nearby settlement of Stabiae. However, within the preserved ruins of the city, the Forum is found towards the outskirts. This is believed to be due to large scale development in the 2nd century BC, which moved the city centre away from the Forum.

Now a square of grass, the Forum area appears to have undergone many changes during the history of Pompei. Prior to the earthquake in 62 AD, the floor was receiving an upgrade – it is still partially paved with travertine. It is thought that a market was held in the middle of the open space. There are also a number of marble bases missing the statues that should sit upon them, and a half finished suggestum – the Roman equivalent of a soapbox for public speaking.

The Forum Granary in Pompeii stands as a pivotal archaeological repository, adjacent to the Forum and the Temple of Jupiter. Originally serving as a marketplace for grain and various products, this site has transitioned into a crucial storage facility for artifacts unearthed from the ruins of Pompeii. Its proximity to significant landmarks underscores its historical and cultural significance within the ancient city.

Dating back to a period after the earthquake of 62 AD, the Forum Granary's construction hints at an ambitious project possibly halted by the devastating eruption that buried Pompeii. The building's architectural features, including eight entrances flanked by brick pillars, indicate its original use for commerce, specifically the fruit and vegetable trade known as the Forum Holitorium. However, the eruption's catastrophic impact left the building's completion in doubt, adding a layer of mystery to its historical narrative.

Today, the Forum Granary encapsulates over 9,000 artifacts, making it the largest archaeological collection related to Pompeii and its environs since excavation efforts commenced in the late 19th century. The collection extends to everyday items used by the citizens of Pompeii, such as terracotta crockery, pots, pans, jugs, and bottles, which illustrate the culinary practices of the time. Amphorae, essential for transporting staples like oil, wine, and fish sauce across the Mediterranean, highlight Pompeii's role in ancient trade networks. Additionally, marble tables and baths intended for fountains that once graced the entrances of homes are displayed, alongside casts of victims and natural elements like a tree, capturing the last moments of life in the city.

The Basilica stands on the left hand side of a large square, which has the Forum at its centre. It is the oldest Roman Basilica ever discovered, and has stood here since the 2nd century BC. This was one of Pompei’s most important buildings, housing the town’s law courts, as well as halls for commercial and financial transactions. The main entrance was located on one of the building’s two short sides, behind a portico. The portico contains 28 columns, which are made of cut tiles. There is some debate over whether these thick columns held a complete roof, or whether the centre of the building was open to the elements.

Immediately next to the entrance is where the tribunal, or law court, still stands. Dominating one side of the Basilica building, it consists of a two metre high podium originally topped with six Corinthian columns. There are no stairs down from the podium, suggesting that temporary steps were used for judges to access it, preventing members of the public from reaching them whilst passing judgment. The outside walls of the Basilica are made of painted stucco, much of which has been preserved by the ash falls which buried the city in 79 AD.

The Temple of Apollo stands next to the Forum in the historic heart of Pompei. It is thought to have been the most important religious building in the city for much of its history, and certainly during Greek and Samnite rule. The cult of Apollo, a Greek congregation who worshipped Apollo, son of Zeus and God of light, knowledge and the sun, drew a great many followers in Campania from the 6th century BC onwards.

The temple gained its present form in the 2nd century BC, and was a central part of Pompei life – so much so that the mensa ponderaria is carved into its perimeter wall. This chart forms the town’s guide to official measurements, for use by traders in the Forum. Damaged extensively by the earthquake of 62 AD, it was never fully rebuilt. Its elevated podium still allows visitors a clear view to Vesuvius, north west of the city.

The Temple of Apollo was built in the form of a peripteros – a raised platform surrounded on all sides by columns. This creates an arcade which runs around the outside of the temple. This area was redecorated under Roman rule, but the changes have almost completely disappeared over time. In the centre of the temple, you can see a white marble altar, and a set back cella, which contains statues of Apollo and Diana.

The Temple of Isis is a small Roman temple, though unusually, it is a place of worship for an Egyptian goddess. Isis was worshipped in Ancient Egypt as a form of universal mother goddess, benevolent to all in Egyptian society. She became worshipped by many Roman communities, particularly those, like Pompei, which had strong trade links with Egypt. One of the first buildings discovered in the excavation of 1764, its origins were revealed upon the discovery of an inscription one year later.

The Temple of Isis is located behind the Large Theatre. Originally built in the late 2nd century BC, it was destroyed by the earthquake in 62 AD, and was in the process of being rebuilt. This work was funded from the personal fortune of a freed slave. The temple was thought to have been particularly popular with slaves, servants and the working classes of Pompei.

Like many temples in the city, the Temple of Isis is built in the Hellenic style, and features a cella where sacred statues of the goddess were kept. The temple also features a columned podium, accessed from a stairway, in its centre. Excavation works at the site also unearthed a number of unusual treasures, including a marble hand, bronze candlesticks and a human skull, believed to have been used in cult rituals.

In contrast to the nearby Odeon, this venue was known as the Large Theater. It was built in the 2nd century BC, in the style of ancient Greek amphitheaters. Set in a natural indentation of the land, it features tiered stone seating on sloping sides, leading to a central horseshoe-shaped performance area.

The theater reached its peak under the reign of Augustus Caesar, being refurbished and extended by the Holconius brothers, rich wine growers from the region, who fitted the rows of seating with marble tops. Following the earthquake of 62 AD, however, the theater was damaged and the marble was removed. Simultaneously, the stage was rebuilt and a grand façade added, complete with columns and statues.

The Holconius brothers also added an upper circle and two side boxes for guests of honor. The Large Theater could hold up to 5,000 spectators within segregated seating areas. The eldest Holconius brother had his own reserved seat here, inscribed with bronze lettering. Back then, the theater was covered by a large canopy, protecting the audience from the sun. The opposite side of the amphitheater housed dressing rooms and access to the outer courtyard.

The Quadriporticus, a large four-sided courtyard, is flanked by colonnaded buildings, typical for most Roman dwellings. While there is some uncertainty over its function, it is known that portions of the complex were used as barracks for the town’s gladiators. The courtyard itself was used for their exercises, being ideally located next to the theater where gladiatorial games were held regularly. It is depicted in the ancient painting, now housed in Naples’ National Archaeological Museum, featuring a swimming pool in the center. The pool might have been covered after the site was damaged in the earthquake of 62 AD.

Graffiti carved by the gladiators in the columns of the Quadriporticus hint at public opposition to, and even condemnation of the violent games. A large quantity of gladiatorial armor found at the site, including helmets, belts and shoulder protectors, all marked with the letters NER, suggest that the gladiators came from the Neroniam, Nero’s imperial school, in nearby Capua.

The Fullonica of Stephanus is a relic from ancient Pompeii, a testament to the Roman era buried beneath the eruption of Vesuvius in 79 AD. Among the four fullonics discovered in Pompeii, Stephanus holds the distinction of being the most well-preserved. Its name, Stephanus, echoes through the election posters adorning its vicinity. Upon excavation, a solitary skeleton was found within, likely belonging to the owner, Stephanus, accompanied by a sum of money totaling around 1,090 sesterces. It remains unclear whether Stephanus sought refuge within his establishment during the eruption or if another soul sought shelter there.

Upon entry, one finds themselves in a foyer leading to rooms on both the left and right. The room to the left housed the pressing apparatus for ironing clothes, while the one to the right, also accessible from the atrium, boasted red and white pictorial decorations. The atrium itself featured a transformed impluvium, now a masonry basin with flowing water, and a converted compluvium serving as a skylight. Notably, the flat roof, an uncommon feature in Pompeii, served as a drying area for garments. A staircase from the atrium led to a potential living space above. Next to the atrium, there's an oecus with matching fourth-style décor. The walls of the oecus feature winged female figures representing the Seasons, adding artistic charm.

Connected to the atrium and oecus by a corridor is the garden. What once housed a marble-covered wall with pillars, serving as a peristyle, now doubled as a clothes-drying area. At the garden's end lay three descending basins and five pestle basins for various activities. To the right stood the kitchen, where artifacts unearthed during restoration efforts between 2014 and 2015 found a new home, alongside pots, pans, and an iron grill. A painting discovered near the tanks also found its place within. Finally, on the southwest corner of the garden stood the triclinium, though its original function had been displaced with the establishment of the fullonica, its stucco decorations reminiscent of columns still adorned its walls.

The House of Loreius Tiburtinus is found on the via dell’ Abbondanza, or street of abundance. The main thoroughfare running across the southern half of the city, it was surrounded by large houses owned by apparently wealthy landlords. This area, close to the Palaestra and Amphitheatre, was the prosperous centre of Pompei in its final years. Occupying an entire insula, or block of the city, like many large residences it contained many stores and restaurants around its perimeter.

The name of the house derives from election slogans found daubed on the façade. These were fairly common in Roman times, although the suggestion is that Loreius and Tiburtinus may refer to two separate politicians. Many historians refer to the dwelling as the house of Octavius Quarto, the last known owner. The interior of the building has many of the features found in other grand Roman villas, including an atrium with an impluvium at the centre for collecting rainwater.

The house is perhaps best known for its extensive gardens, complete with a number of ornaments. Behind the summer triclinium, two fountains were discovered. Known as Euripi, these large, decorative water features housed fruit trees and a number of artworks. Two frescoes painted on the upper fountains are the only artworks in all of Pompei to be signed. The paintings of Narcissus, and Pyramus and Thisbe, stand on either side of the fountain, and are signed ‘Lucius pinxit’ – painted by Lucius.

The House of the Venus Marina is a domus horne – a dwelling designed for a single family. It is typical of the more conventional dwellings found in Pompei, alongside the larger, more heavily decorated villas owned by the wealthy. More compact and understated than the other notable houses found in Pompei, it is still centred around an atrium and peristyle. This suggests that these features were present in all Roman architecture, and not reserved for the wealthy alone.

The house has earned its name from the spectacular fresco found on the rear wall of the peristyle. It depicts Venus, the Goddess of Love, in an aquatic scene. Reclining on an oyster shell, she is pictured wearing jewellery and a shawl, and has golden curled hair. On either side of Venus, Cupid and a Nereid on a dolphin are pictured. This depiction of Venus, as an aquatic creature, has been recreated in numerous artworks, and is perhaps the image most commonly associated with the Roman goddess, who was widely worshipped in Pompei. Described as the ‘protectress of Pompei’ in inscriptions found elsewhere in the city, it is perhaps ironic that, while much of Pompei was destroyed, her likeness has survived almost entirely intact.

The House (Praedia) of Julia Felix is a sizable property, originally a private home, named after its previous owner. After a significant earthquake in 62 AD, which preceded the eruption of Vesuvius in 79 AD that ultimately devastated the city, the owner had part of the building transformed into rental housing while retaining another portion for public use.

This location comprises both indoor and outdoor spaces centered around atria – courtyards where the main rooms open, alongside enclosed gardens and a private water source. Various areas of the property allowed for both indoor and outdoor seating, adorned with frescoes depicting scenes of leisure and gardens.

The grandeur of the architecture and the high-quality decorations suggest that the building was intended for wealthy and prestigious residents. The walls remain nearly entirely covered in frescoes. The tablinum, which faces the large garden to the east, must have been particularly impressive, boasting Fourth-Style frescoes with green plants on a black background, panels depicting villas, sanctuaries, and flying figures, and a frieze of still-life panels.

Among the most extravagant features of the property were the summer dining area and baths, catering primarily to respectable citizens. Given that most public baths in Pompeii were closed for repairs after the earthquake of 62 AD, it's likely that these baths saw frequent use.

The dining room exuded elegance and warmth, reminiscent of the elite villas in the countryside or on the coast, overlooking gardens with small pools and waterfalls. The expansive rear garden contained fruit trees within large squares, bordered by low wooden fences.

The remains of the House were unearthed during archaeological excavations in 1755.

The Pompei Amphitheatre is the oldest building of its kind to have survived from the Roman era. Pompei houses many of the best preserved examples of Roman architecture, after the city was buried under volcanic ash for almost 2000 years. The Amphitheatre, one of Pompei’s most well known attractions, predates the Coliseum in Rome by over a century. It is believed that the success of the Pompei Amphitheatre, the first stone arena built within the Roman Empire, was the inspiration for a larger stone-built arena in Rome itself.

A circular structure with arches and stairways creating several entrance points, the Amphitheatre is still considered by crowd control analysts to be a near perfectly designed venue. Built around 70 BC, it was initially known as the Spectacula. Paid for by wealthy local statesmen Quinctius Valgus and Marcius Porcius, it was primarily used to host gladiatorial games and ceremonies. Twenty years before the eruption that destroyed Pompei, games were banned at the Amphitheatre, following a brawl between locals and residents of nearby Nuceria. In recent years, UK progressive rock band Pink Floyd became the first people for almost two thousand years to perform at the arena, filming a live concert here.