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ancient graffiti

Funny Examples of Pompeii Graffiti: Three Ancient Jokes, Decoded

A wall complains about scribblers, a traveler gets a place-based food joke, and a graffito turns Virgil’s epic into a line about fullers and an owl.

By ThatPainter Team 3 min read
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Some Pompeii graffiti are funny because they complain about scribblers, tease travelers, or turn Virgil’s epic into a joke about fullers and an owl. Here are three examples with their recorded Latin, published translations, and the limits of what each can tell us.

What counted as graffiti in Pompeii?

In epigraphic usage, graffiti usually means writing incised or scratched into a surface. Painted notices, known as dipinti, are related but distinct. Pompeii’s wall writing includes names, greetings, love messages, jokes, insults, literary lines, drawings, and everyday notes.

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The examples below are linked to catalogue records and findspots. Their English wording is translation, not a modern verbatim copy of the marks on the wall. Brackets, normalized spellings, punctuation, and readings of damaged letters can reflect editorial decisions; consult the [PompeiiItaly overview] and its linked records for those details.

Three funny Pompeii graffiti examples

1. The wall complains about writers

Latin: Admiror o pariens te non cecidisse ruinis qui tot scriptorum taedia sustineas.

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Published translation: “I am amazed, O wall, that you have not fallen into ruins since you hold the boring scribbles of so many writers.”

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Recorded in the Basilica (VIII.1.1) and linked to CIL 04, 01904, this incised joke gives the wall a voice. It pretends the surface is so burdened by tedious writing that its survival is surprising. The catalogue-linked English is a translation of the inscription, not a quotation in modern English from the wall.

2. Bread at Pompeii, a drink at Nuceria

Latin: Viator, Pompeis pane(m) gustas / Nuceriae bibes.

Published translation: “Traveler, at Pompeii you eat bread; at Nuceria you will drink!”

The compact joke turns on a contrast between two places: bread in Pompeii, a drink in Nuceria. The surviving wording does not explain why Nuceria is associated with drinking, so it is best enjoyed without supplying a backstory the inscription does not give.

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3. Fullers and an owl replace Virgil’s heroes

Latin: Fullones ululam e[go] cano non arma virumq(ue).

Caroline Barron’s translation: “I sing of fullers (and an) owl, not of arms and a man.”

This graffito was found near the entrance on the exterior wall of the so-called House of Fabius Ululitremulus. It reworks arma virumque cano—“I sing of arms and a man”—the opening of Virgil’s Aeneid. The comic switch from epic subject matter to fullers, or cloth-workers, and an owl is an interpretation of the parody; the record discusses possible connections with the trade and nearby imagery but does not establish the writer’s intention. See the [Ancient Graffiti Project record] for its text and discussion.

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A lighter extra: a honeyed life for lovers

Latin: Amantes, ut apes, vita(m) mellita(m) exigunt / Velle(m)!

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Published translation: “Lovers, like bees, lead a honeyed life. I wish [it]!”

The PompeiiItaly overview locates this verse at the Casa degli Amanti (I.10.11) and notes that another hand wrote the second line. That difference could suggest a response, but it does not prove that the lines were a confirmed exchange between two people.

How much do these jokes tell us?

These inscriptions are vivid evidence that some people wrote jokes, literary play, and personal messages on Pompeii’s walls. They do not establish what all Pompeians thought, or who the writers were. The [Pompeii Online overview] describes graffiti as evidence for ordinary communication while cautioning against treating individual inscriptions as the views of society as a whole. What survives is also selective: preservation and excavation shape the record.

For closer reading, the [Ancient Graffiti Project] is a searchable scholarly resource for Pompeii and Herculaneum. Individual entries can give a text, translation, findspot, language, writing style, editorial apparatus, and bibliography. One inspected entry, for example, identifies an incised Latin graffito at the Casa degli Epigrammi and cites CIL 04, 05456. Its corpus is not a safe proxy for a total count of all Pompeii graffiti; the PompeiiItaly overview explicitly distinguishes selected-area coverage from the full corpus.

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