Last week it was announced that a Roman mosaic, long thought lost to the ravages of war and the whimsy of wartime looting, finally returned to its rightful home in Pompeii. The racy piece of ancient décor, depicting a pair of lovers in a rather compromising position, is back where it belongs, thanks to a carefully orchestrated act of cultural diplomacy and restitution.
The steamy mosaic—complete with a reclining man and a bare-bottomed woman who clearly wasn’t shy about public displays of affection—likely graced the floor of a bedroom in a Roman villa, until Mount Vesuvius’ infamous eruption transformed the Pompeii into an archaeological treasure trove in 79 C.E. For nearly two millennia, the mosaic rested quietly in the ruins of the city, until it caught the eye of someone with considerably less respect for context, a German Wehrmacht captain. During World War II, the Nazi officer removed the work.
The ancient lovers’ tableau was shipped off (a.k.a. looted) when said captain decided it would make an appropriate gift to a fellow German citizen. Whether that recipient ever understood the artwork’s provenance is unclear, but what followed was a decades-long vanishing act that ended only recently.
The Plot Thickens
The mosaic resurfaced not because of a dramatic sting operation or last-minute auction block rescue, but thanks to the conscience of the heirs of its most recent possessor. They contacted the Carabinieri Command for the Protection of Cultural Heritage (Italy’s world-renowned cultural crime squad) and inquired about restituting the relic.
Through the diligence of the Carabinieri and the Italian Consulate General in Stuttgart, the mosaic was officially repatriated in September 2023. It has now been proudly installed in the Antiquarium at the Archaeological Park of Pompeii where visitors can learn about its plundered past.
Restitution: The Long Game
The return of the Pompeiian mosaic is part of a broader global reckoning with stolen art, especially works appropriated during the Nazi era. While Italy has been a leader in pursuing the return of antiquities, this latest case adds a particularly rich layer to the dialogue—connecting ancient Roman artistry with the dark shadow of 20th-century totalitarianism.
The Nazis looted approximately 20% of all Western art in Europe. While much of the research and work on Nazi looting has focused on the theft of fine art from Jewish collectors, the Nazis actively sought antiquities and other national treasures as well. In recent years, the theft of antiquities has drawn increasing attention. In particular, Hitler had a soft spot for ancient Roman and Greek artifacts due to this objective of creating a connection between the Third Reich and ancient powerful civilizations. He used art from these ancient empires as propaganda to visually create these misleading connections. In fact, the sadistic ruler was given Roman antiquities by other members of the Nazi Party.
Restitution: How Tarter Krinsky & Drogin Can Help
Luckily, some collectors choose to take an ethical stance. Earlier this year, Tarter Krinsky & Drogin Art Law Practice Chair, Leila Amineddoleh, facilitated the restitution and loan agreement involved with two significant antiquities that were voluntarily returned from the Worcester Art Museum. While not stolen during wartime, the artifacts were looted and traded by an international network of dealers handling plundered materials. The Worcester Art Museum acted ethically and responsibly by returning the works to their rightful home. Their restitution to Italy marked another step in the long and winding journey toward cultural justice.
In one of the most discussed voluntary restitutions of the century, Leila’s client Laura Young returned a marble bust to Germany. The case attracted international attention because Ms. Young purchased the valuable work for $34.99 at a goodwill shop in Texas and then strapped it into her car with a safety belt. Interestingly, the antiquity has a royal pedigree but was ultimately stolen during WWII by an unknown thief. Making it even more mysterious, the identity of the model is still unknown, making the piece even more enigmatic.
Closing Thoughts: Italy and the Art of the Return
With the help of the Carabinieri's cultural heritage division and international cooperation, Italy continues to champion cultural restitution not just as policy, but as a point of national pride. And while other nations are slowly catching up (Germany is steadily making reforms to streamline the restitution of Nazi-looted works), Italy is leading by example—one mosaic, amphora, or statue at a time.
While the mosaic’s sultry subject matter might raise a few eyebrows, its return is anything but frivolous. Artworks tell stories, and this tale stretches across centuries, empires, wars, and redemption.
Let this be a reminder: whether reclining lovers or Impressionist landscapes, cultural property deserves more than just admiration. It deserves justice. Because no matter how cheeky the artwork, there is nothing funny about theft. The return of the Pompeii mosaic underscores an important truth: restitution isn’t just about returning objects. It’s about returning meaning, memory, and morality to communities and countries whose cultural identities have been fragmented by theft.
Here’s to Pompeii’s lovers, reunited at last with the city of ash and memory.
(Thanks to Esther Animalu for her help developing this blog post.)
[View source.]
