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Like the distressed guys who started excavations at Pompeii in the 18th century and discovered more about the ancient Italians than they had planned on-- such as phallic-shaped lamps-- 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 clients in the brothels lived hard lives, yet many of the murals that survive portray the women as exotic and erotic. 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 range of sexual positions with young, tanned, athletic males. The figures sport on beds that are sometimes elaborate and festooned with decorative quilts. n structures recognized as brothels, the murals may have been meant to excite customers. They might also have functioned as pictorial menus or even acted as user's manual for more inexperienced consumers. In structures determined as private houses, the scenes were probably 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.