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Like the distressed males who started excavations at Pompeii in the 18th century and found more about the ancient Italians than they had bargained for-- such as phallic-shaped lights-- historians of sex are regularly confronted with case studies from the past that challenge their own ethics. Those who worked the streets of Pompeii and served customers in the brothels lived hard lives, yet much of the murals that survive portray the ladies as exotic and erotic. Murals from whorehouses and structures that served as whorehouses (such as inns, lunch counters, and pubs) show fair-skinned ladies, naked (except for the periodic breast band), with stylised hair, in a variety of sexual positions with young, tanned, athletic males. The figures sport on beds that are in some cases elaborate and festooned with ornamental quilts. n structures recognized as brothels, the murals might have been meant to excite clients. They may likewise have worked as pictorial menus or even served as instruction manuals for more unskilled customers. In buildings identified as personal houses, the scenes were probably ornamental but also developed, maybe, for titillation.
The sex employees satisfied a practical function and absolutely nothing else. Restricted to the properties by (generally) male pimps who offered them with just their the majority of fundamental requirements, the ladies were basically cut off from the outside world. This rendered them susceptible to the impulses of both pimp and customer alike.
Contrary to the idealised images, the whorehouses themselves supply proof that the ladies operated in cells, normally just huge enough for a narrow bed. The lack of windows in many vouches for the darkness of the cells, in addition to restricted air circulation.