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Like the anxious men 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 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 much of the murals that survive portray the ladies as unique and erotic. Murals from brothels and buildings that worked as whorehouses (such as inns, lunch counters, and pubs) show fair-skinned women, 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 often ornate and festooned with ornamental quilts. n buildings identified as brothels, the murals may have been meant to arouse customers. They may likewise have worked as pictorial menus and even functioned as user's manual for more inexperienced customers. In buildings identified as private residences, the scenes were most 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.