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Like the anxious males who began excavations at Pompeii in the 18th century and found more about the ancient Italians than they had imagined-- such as phallic-shaped lamps-- historians of sex are frequently faced with case studies from the past that challenge their own ethics. Those who worked the streets of Pompeii and served customers in the whorehouses lived hard lives, yet a lot of the murals that endure portray the females as erotic and unique. Murals from whorehouses and buildings that acted as whorehouses (such as inns, lunch counters, and pubs) show fair-skinned females, naked (except for the occasional breast band), with stylised hair, in a range of sexual positions with young, tanned, athletic males. The figures sport on beds that are often ornate and festooned with ornamental quilts. n structures recognized as whorehouses, the murals may have been planned to arouse customers. They may also have worked as pictorial menus or even functioned as user's manual for more inexperienced clients. In buildings identified as personal houses, the scenes were more than likely 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.