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Like the distressed men who began 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 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 depict the women as erotic and unique. Murals from brothels and buildings that acted as brothels (such as inns, lunch counters, and pubs) show fair-skinned women, 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 sometimes elaborate and festooned with ornamental quilts. n structures determined as whorehouses, the murals might have been meant to excite customers. They may also have functioned as pictorial menus or even worked as instruction manuals for more inexperienced customers. In structures determined as private residences, the scenes were most likely ornamental but also designed, 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.