Dating primarily to the late Republican and early Imperial periods, the Villa of Diomedes offers a comprehensive example of aristocratic Roman villa architecture of the villa suburbana type. One of the most notable suburban residential villas it combines residential opulence with agricultural or leisure functions. Excavated in the 18th century, the villa spans two levels built into the slope outside the city walls, with panoramic views of the Bay of Naples. It is named after Marcus Arrius Diomedes, whose tomb lies opposite the villa entrance, although direct ownership remains uncertain.

Situated along the Via dei Sepolcri and overlooking the ancient coastline, the Villa of Diomedes represents elite Roman domestic architecture from the 1st century BCE to the 1st century CE. The villa comprises approximately 40 rooms arranged across two primary levels with extensive peristyle gardens and private bath facilities. Its layout reflects both the private and social functions of Roman elite households, serving as a locus for leisure, hospitality, and status performance. The villa gained particular notoriety due to the discovery of numerous human remains and valuables during its early 19th-century excavation.

Its construction is typically dated to the late Republican period (circa 70–50 BCE), with subsequent modifications up to the time of the eruption in 79 CE. The excavation yielded one of the earliest documented examples of Pompeian household assemblages and inspired widespread artistic and literary representations of Pompeian death, particularly the image of a family perishing while attempting to flee.

The villa was initially excavated between 1771 and 1774 under the Bourbon-sponsored investigations led by Francesco La Vega. Named after Marcus Arrius Diomedes—whose tomb lies opposite the entrance—the villa’s actual ownership remains uncertain due to the absence of conclusive epigraphic evidence.

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Plan
The villa is organized around two major terraces, covering an area of approx 3500 square meters, arranged around two peristyles and extends over a steeply sloping terrain. The upper level contains the principal entrance, atrium, tablinum, various cubicula and various reception and domestic rooms. From the entrance, a long axial corridor leads through the atrium and tablinum to the peristyle, which commands the view over the lower gardens and countryside. The second peristyle, larger and located at a lower elevation, opens onto the garden and terrace with sea views. The domestic bath suite and service quarters occupy part of the lower level. A kitchen complex is accessible via the western corridor, and staircases connect the service and leisure zones. The garden side of the building faces what would have been the ancient coast line (now Via Villa dei Misteri) to the East. The west side of the villa borders the road (modern day via delle tombe di necropoli Porta Ercolano) leading to the Herculaneum Gate.

Construction
The structure is primarily built using opus incertum and opus reticulatum with volcanic stone, with later additions showing opus vittatum and brick elements. The villa’s layout makes use of the sloping terrain, integrating built elements with open garden and leisure spaces. Water features, including a long piscina (pool) and an underground cistern, are present in the garden level. The lower levels rest directly on the slope, incorporating terraces that function as structural retaining elements. The villa’s expansive footprint and architectural complexity demonstrate advanced Roman engineering adapted to topographically demanding terrain.

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Decorative Elements
Although much of the original decoration was removed in the 18th century, documentation and surviving fragments suggest an abundance of Fourth Style wall paintings, especially in the atrium and peristyle-adjacent rooms. Floors consisted of both opus signinum and geometric mosaic pavements. Marble thresholds and stucco cornices were also employed. Niches and fountains adorned the garden and peristyle areas, enhancing the villa’s theatrical atmosphere. The villa preserves extensive wall painting schemes, including remnants of the Second and Third Styles. Frescoes include mythological panels and architectural motifs. Some rooms also exhibit mosaic flooring with geometric patterns, although much of the original decoration has deteriorated or was removed during early excavations.

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Human Remains
Although not artefacts in the conventional sense, in total, at least 36 individuals were discovered within the villa. One of the most famous groups includes a man—likely the paterfamilias—found near the garden exit, accompanied by a key and a cache of gold and silver. Nearby were women and children, likely family members or dependents. These remains provide critical data for interpreting behavior during the final moments of the eruption. The find also contributed to changing scholarly interpretations of escape patterns and social organization during the catastrophe. Skeletal analyses conducted in later decades confirm a diversity of age and sex among the victims, further underscoring the social stratification embodied within the household.

Material Items
Early reports from the Bourbon excavations describe the recovery of silverware, bronze lamps, coins, amphorae, and furniture elements. Several vessels and small statuary items were discovered in storage contexts, while cooking and service implements were found near the kitchen. Jewelry and personal belongings were retrieved from multiple locations, often associated with human remains, suggesting rapid attempts to flee during the eruption.