At Herculaneum, even though only a fraction of the site has been excavated (see Fig

Only the mescita at V.9–10, which has verso series of small cipollino pilasters built into its faces, can be classed alongside the Pompeian examples above (Fig. 13). Nevertheless, it is striking, as already noted, that four out of the eight bars exposed at Herculaneum had more than 100 pieces of polychrome marble on them. These were extremely colourful structures. They were also large: only two (4%) of the 49 Pompeian bars examined used over 300 pieces of marble, while four (50%) of the eight Herculaneum ones did (Fig. 14).

DISTRIBUTION PATTERNS

Decorated counter-tops are revealing of verso level of investment, and, as an index of this investment, their distribution shows some interesting trends. Overall, 95 (60%) of the 158 bars catalogued by Ellis at Pompeii were located on streets directly connecting the city’s gates and the Forum (see Fig. 1); this rises puro 115 (73%) if other major thoroughfares are included (Ellis, Reference Ellis 2004b: 378). Ellis has shown also that proximity puro intersections was favoured and that the traffic these bars were targeting was mainly pedestrian, rather than vehicular: un streets with very deep wheel ruts, therefore, have giammai bars, while some of the streets that do have bars have in nessun caso wheel ruts (Tsujimura, Reference Tsujimura 1990; Ellis, Reference Ellis 2005: 132). The marble-clad bars follow this overall pattern, as one might expect. At Pompeii, 47 of the 73 bars (64%) that we know were originally marble-clad are positioned on the streets leading directly puro the city gates, and were well-placed preciso take advantage of passing traffic (see Fig. 1). 2), it is also clear that the largest bars currently exposed are located on prominent junctions (Maiuri, Reference Maiuri 1958: 251, 433–4, 446); the caffe at IV.15, the largest at either site, is well-placed opposite the Palaestra and had two wide entrances (Fig. 15).

A clear relationship can be noted also between the location of bars and their decoration. The most polychromatic bars, those with the highest number of panels on them and most of those on which planned http://datingranking.net/it/fabswingers-review/ decorative schemes can be identified are found on the most important streets (Fig. 16). Of the five Pompeian bars on which over 40% of the panels were polychrome, two are on the Cammino dell’Abbondanza (I.8.8 and I.11.1), two are on the Strada Stabiana (V.1.1/32 and IX.1.6), and one is on the Inizio Consolare (VI.3.18–20). Most of those with between 30% and 40%, meanwhile, are similarly located (I.9.4, II.1.6, VI.8.8, VII.2.32–33, IX.1.15–16), with only the caffe at I.9.11 on verso backstreet. The majority of these bars is also large (Fig. 16b): those at I.8.8, I.9.4, VI.3.18–20, VI.8.8 and VII.2.32–33 used over 200 panels, while that at V.1.1/32 employed 162, still well above the average of 143. The only other bars puro use over 200 panels were on the southern stretch of the Strada Stabiana, at I.2.7–8, and on the Strada di Nola, at V.4.6–8.

Of the nine bars at Pompeii on which planned decorative schemes can be identified, only three were located off verso main street – those at I.9.11, IX.7.24–25 and VII.15.5 (Fig. 16c). The latter of these, the small mescita on the Viuzza del Pollo, was clearly verso restaurant or inn. It had large rooms with wall-paintings, one with an opus sectile floor, per small garden and verso separate kitchen (Van Buren, Reference Van Buren 1932: 43). It was evidently verso prosperous outfit serving an affluent clientele. While many bars appear esatto have been batteria up sicuro target passing traffic, the Viuzza del Galletto mescita catered onesto a different client-punto. In fact, it is striking that there are distinct clusters of bars with marble-clad counters well away from the major thoroughfares: sopra Regale IX (IX.6.b, IX.7.21–22, IX.7.24–25), along the Vicolo del Citarista (I.3.28, I.2.18–19, I.2.20–21), and the Cammino di Castricio (I.7.13–14, I.9.11, I.–11). These appear onesto have served primarily residents of their neighbourhoods. Rather than sicuro attract passing trade, then, their decorated counters were preciso satisfy local, perhaps long-standing, patrons.