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Like the distressed males who began excavations at Pompeii in the 18th century and discovered more about the ancient Italians than they had actually bargained for-- such as phallic-shaped lights-- historians of sex are routinely 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 make it through portray the females as erotic and exotic. Murals from whorehouses and buildings that functioned as brothels (such as inns, lunch counters, and pubs) show fair-skinned ladies, naked (except for the periodic breast band), with stylised hair, in a range of sexual positions with young, tanned, athletic guys. The figures sport on beds that are sometimes ornate and festooned with decorative quilts. n buildings recognized as brothels, the murals may have been planned to excite customers. They might likewise have operated as pictorial menus and even acted as user's manual for more inexperienced consumers. In buildings identified as personal homes, the scenes were more than likely decorative but also developed, possibly, 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.