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Like the distressed men who started excavations at Pompeii in the 18th century and found more about the ancient Italians than they had imagined-- such as phallic-shaped lights-- historians of sex are frequently confronted with case studies from the past that challenge their own principles. Those who worked the streets of Pompeii and served customers in the brothels lived hard lives, yet a lot of the murals that make it through portray the females as erotic and unique. Murals from whorehouses and buildings that worked as whorehouses (such as inns, lunch counters, and taverns) show fair-skinned females, naked (except for the periodic breast band), with stylised hair, in a variety of sexual positions with young, tanned, athletic men. The figures sport on beds that are often elaborate and festooned with ornamental quilts. n structures identified as brothels, the murals might have been intended to arouse customers. They may also have operated as pictorial menus and even served as user's manual for more inexperienced clients. In buildings recognized as private residences, the scenes were more than likely decorative but likewise created, maybe, 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.