arts Article Spatial Dimensions in Roman Wall Painting and the Interplay of Enclosing and Enclosed Space: A New Perspective on Second Style Nikolaus Dietrich Institut für Klassische Archäologie, Universität Heidelberg, 69117 Heidelberg, Germany;
[email protected] Received: 25 March 2019; Accepted: 20 May 2019; Published: 30 May 2019 Abstract: This article engages with the interplay of two-dimensional and three-dimensional wall decoration in Roman wall decoration of the so-called four Pompeian styles. Instead of describing the rapid changes in the use (or non-use) of techniques for creating perspectival depth in August Mau’s four styles within an autonomous development of decorative principles, either favoring surface over depth, or vice versa, this article will discuss the imaginary space/surface on the walls in relation to the ‘real’ space enclosed by the decorated walls and—foremost—their inhabitants as the actual referent of the decoration. The discussion will focus on second-style wall decoration, with glimpses on the earlier first and later third and fourth styles in a final section. Keywords: Roman wall painting; second pompeian style; depiction of space; Roman Perspective; decoration of the Roman house 1. Introduction The development of Roman wall painting is often described as a succession of styles that attempts either at closing or at opening up the surface of the wall. While first style decorations are themselves imitating a wall, this wall is more and more breached through by perspectival vistas in the second style. Towards the third style, however, there is again a preference for closed walls, while this trend is once more inverted in the fourth style, when perspectival vistas enter the decorative repertoire again.1 1 Any textbook on Roman wall painting may exemplify this.