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Like the distressed men who began excavations at Pompeii in the 18th century and discovered more about the ancient Italians than they had planned on-- such as phallic-shaped lights-- historians of sex are routinely faced with case studies from the past that challenge their own principles. Those who worked the streets of Pompeii and served customers in the whorehouses lived hard lives, yet a lot of the murals that survive illustrate the females as unique and erotic. Murals from whorehouses and structures that acted as whorehouses (such as inns, lunch counters, and taverns) show fair-skinned ladies, naked (except for the occasional breast band), with stylised hair, in a variety of sexual positions with young, tanned, athletic males. The figures sport on beds that are often elaborate and festooned with decorative quilts. n structures recognized as brothels, the murals may have been planned to excite customers. They may also have operated as pictorial menus and even acted as instruction manuals for more inexperienced customers. In buildings recognized as private homes, the scenes were probably ornamental but also created, perhaps, 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.