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00_AIPMA_Umschlag_00_AIPMA_Umschlag 22.01.18 16:41 Seite 1

Yves Dubois, Urs Niffeler (dir.) Antiqua 55 PICTORES PER PROVINCIAS II – STATUS QUAESTIONIS

Actes du 13e Colloque de l’Association Internationale pour la Peinture Murale Antique (AIPMA) Université de Lausanne, 12–16 septembre 2016 Colloque International de l’AIPMA – Lausanne 2016 e

ISBN 978-3-908006-47-3 Pictores per provincias II – Status quaestionis 13 du Actes Antiqua 55 Yves Dubois, Urs Niffeler (dir.)

PICTORES PER PROVINCIAS II – STATUS QUAESTIONIS Actes du 13e Colloque de l’Association Internationale pour la Peinture Murale Antique (AIPMA)

Colloque international organisé par Yves Dubois, Michel E. Fuchs et Alexandra Spühler à l’Université de Lausanne, Anthropole, du 12 au 16 septembre 2016 Veröffentlichung der ANTIQUA 55 Archäologie Schweiz Publication d’Archéologie Suisse Pubblicazione d’Archeologia Svizzera Publication of Swiss Archaeology PICTORES PER PROVINCIAS II – STATUS QUAESTIONIS

Actes du 13e Colloque de l’AIPMA Lausanne, 12–16 septembre 2016

Yves Dubois, Urs Niffeler (dir.)

Basel 2018 Couverture: Pully VD, romaine, paysage idyllico-sacré, in situ. Photo de fouille, Archéologie cantonale vaudoise.

Quatrième de couverture: les participantes et participants au 13e colloque de l’AIPMA, Anthropole, Université de Lausanne. Photo T.Grec.

Comité scientifique: voir p. 10. Cet ouvrage a fait l’objet d’un processus de peer-review.

Le présent ouvrage a été publié avec le soutien des institutions suivantes:

Académie suisse des sciences humaines et sociales Faculté des Lettres de l’Université de Lausanne Société Académique Vaudoise Fondation UBS pour la Culture Goethe-Stiftung für Kunst und Wissenschaft Fondation J.-J. van Walsem pro Universitate Fondation de Famille Sandoz AIPMA – Association internationale pour la peinture murale antique Fondation pour l’Université de Lausanne ARS – Association pour l’archéologie romaine en Suisse Institut d’archéologie et des sciences de l’Antiquité, UNIL

Direction de la rédaction: Yves Dubois, Urs Niffeler.

Equipe de rédaction, homogénéisation des contributions, transcription et rédaction des discussions, index locorum: Cindy Vaucher, Claudia Lozano, Daniela Greger, Sarah Paudex, Natasha Hathaway, Romeo Dell’Era, Nicolas Becker, Alexandra Spühler, Yves Dubois et Urs Niffeler.

Mise en pages: Isabelle D. Zeder.

Impression: Beltz Grafische Betriebe, Bad Langensalza.

Copyright © by Archéologie Suisse, Basel 2018 Printed in Germany ISBN: 978-3-908006-47-3

4 Impressum SOMMAIRE

Un demi-siècle de recherches Hellenistic Decoration in the Land of Israel sur la peinture murale antique Silvia Rozenberg ...... 139 Alix Barbet ...... 11 Roman and Early Byzantine Wall in Israel – A Survey Grèce Talila Michaeli ...... 155

An Overview of Roman Wall in Greece Afrique du Nord Sarah Lepinski ...... 25 Nouvelles découvertes, recherches récentes sur la peinture à Alexandrie et dans le nord Thrace, Mer Noire, Asie mineure de l’Égypte Anne-Marie Guimier-Sorbets ...... 173 La peinture murale en Thrace pré-romaine Julia Valeva ...... 37 Wall Painting in outside of Alexandria. State of the Field Témoignages picturaux du Royaume Susanna McFadden ...... 193 du Bosphore Cimmérien, de Chersonèse Taurique et d’Olbia La pittura funeraria in Cirenaica (Libia) Pascal Burgunder ...... 55 Anna Santucci ...... 205

Die Entwicklung der Wandmalerei in La pittura parietale in Cirenaica (Libia) Kleinasien von der griechischen bis zur Jerzy Z˙ elazowski ...... 221 römischen Zeit am Beispiel von Ephesos Norbert Zimmermann ...... 69 La pittura parietale in Tripolitania: tematiche e sviluppi dei sistemi decorativi Eine hellenistische Dekoration im Mauer- attraverso testimonianze edite e inedite werkstil aus : Rekonstruktion und Barbara Bianchi ...... 239 kontextuelle Verortung Anja J. Schwarz ...... 89 Spätpunische Wanddekorationen Karthagos und ihre überregionalen Vergleiche Thomas Lappi ...... 257 Proche-Orient Peintures murales de Dougga retrouvées Décors muraux au Proche-Orient dans le Fonds Poinssot Hélène Eristov, Claude Vibert-Guigue ...... 101 Alix Barbet ...... 269

Les peintres de l’Antiquité en Jordanie, La peinture murale en Maurétanie césarienne des royaumes d’époque hellénistique et en Numidie (Algérie). Quelques fragments à l’empire romain vers une synthèse Claude Vibert-Guigue ...... 121 Kenza Zinaï ...... 277

Nouvelles peintures dans une demeure La peinture murale en Maurétanie tingitane. romaine de Shahba-Philippopolis (Syrie) Etude de synthèse Oussama Nofal ...... 135 Layla Es-Sadra ...... 291

5 Italie du Sud et Sicile et Latium

Picta fragmenta. La pittura parietale romana La pittura «urbana» tra la tarda età nell’Italia meridionale e in Sicilia reppublicana e la prima età imperiale. Antonella Coralini ...... 311 Spunti di riflessione Stella Falzone ...... 445 Una variante regionale dello stile strutturale in Daunia. Materie, tecniche e Qualità e peculiarità della pittura romana stile decorativo di una di Arpi di prima età imperiale a Roma da vecchi e Salvatore Patete, Claude Pouzadoux, nuovi contesti Italo M. Muntoni, Anna Garavelli, Silvia Fortunati, Federica Pollari ...... 453 Daniela Pinto ...... 327 Casa di Livia sul Palatino: le pitture The decorative program nel cubicolo del piano superiore of the North Baths at Morgantina Valentina Torrisi ...... 465 Sandra K. Lucore ...... 339 Muses, Seasons, and Aion Ploutonios: Una pittura «ellenistico-romana»? The Dionysiac Frieze from the nymphaeum Il secondo stile nella provincia Sicilia of the Domus Transitoria Elisa Chiara Portale ...... 353 Aurora Raimondi Cominesi ...... 471

Tipologia dei sistemi decorativi in Sicilia Arredi pittorici dalle ville suburbane: Romana: il caso di Agrigento, Casa della esempi da vecchie e nuove indagini Gazzella (quartiere ellenistico romano) Stella Falzone, Claudia Gioia, Paolo Barresi, Maria Lucia Guarneri ...... 367 Martina Marano ...... 481

Nuove testimonianze di pitture parietali La decorazione pittorica in età medio- da Akrai (Sicilia) imperiale: il caso della villa di Livia ad Roksana Chowaniec, Rosa Lanteri, Gallinas Albas Jerzy Z˙ elazowski ...... 375 Eleonora Malizia ...... 497

La pittura pompeiana: primato e limiti De ratione pingendi parietes. Agnes Allroggen-Bedel ...... 383 Considérations sur les dynamiques de production des ateliers dans la peinture Beyond the Four Styles. ostienne de quatrième Reflections on Periodizations and Other Martina Marano, Paolo Tomassini ...... 503 Matters in Roman Wall Painting Eric M. Moormann ...... 389 Italie centrale Imitation alabaster: Varieties and symbolism in Roman paintings Pittura funeraria etrusca Simon J. Barker, Simona Perna ...... 405 Stephan Steingräber ...... 513

Pitture di paesaggi con ville marittime Gli strumenti musicali in uso nel mondo su pareti di terzo e quarto stile pompeiano. etrusco attraverso l’analisi della pittura La villa di San Marco a funeraria Raffaella Federico ...... 413 Giulia Armone, Lucrezia Campagna, Silvia Carrubba, Ludovica Lops, Silvia Lucia, Architettura e architetture nella pittura Stephan Steingräber ...... 531 romana: i pinakes di terzo e quarto stile dall’Urbe alla Campania Lineamenti per una sintesi sulla pittura Giuseppa Tabacchini ...... 423 murale romana nell’Italia centrale e insulare (Sardegna) Le specificità espressive nella decorazione Fulvia Donati ...... 537 della villa romana di Positano Luciana Jacobelli ...... 433

6 Sommaire Indagine sulla diffusione del terzo stile in El segundo estilo en la Casa del Larario Etruria: il caso di Vada Volaterrana de Bilbilis (, España) Ilaria Benetti, Fulvia Donati, Simonetta Menchelli, Carmen Guiral Pelegrín, Lara Íñiguez Marinella Pasquinucci, Paolo Sangriso . . . . .555 Berrozpe, Carlos Sáenz Preciado, Manuel Martín-Bueno ...... 685 Gli intonaci dipinti delle villae maritimae dell’arcipelago toscano (Gorgona, Capraia, La decoración pictórica de la estancia C22-R Elba, Pianosa) en la Domus del Castro Chao Samartín Lorella Alderighi ...... 567 Olga Gago Muñiz ...... 693

Il Tempio romano di Nora (Cagliari, Restudying Roman wall painting in Sardegna): la decorazione parietale della Portugal today: testimonies, particularities cella in età altoimperiale and idiosyncrasies Federica Stella Mosimann ...... 575 Jorge Tomás García ...... 701

Italie du Nord Bretagne

La pittura parietale in Cisalpina: quadro di Wall Paintings in Roman Britain: sintesi su una produzione di «confine» State of the Monica Salvadori, Alessandra Didonè ...... 583 Roger Ling ...... 711

Gli intonaci dipinti dell’VIII Regio augustea: un primo bilancio sulla produzione pittorica Gaules in Emilia-Romagna Francesca Fagioli, Riccardo Helg, La peinture romaine dans les trois Gaules Angelalea Malgieri ...... 599 (Narbonnaise, Lyonnaise, Aquitaine) Alexandra Dardenay ...... 723 Architetture fantastiche in sistemi ornamentali di terzo stile dalla villa delle Entre innovations et conservatisme: «grotte di Catullo» a Sirmione les décors de la cité antique de Bordeaux Barbara Bianchi ...... 611 Myriam Tessariol ...... 739

La peinture murale en Narbonnaise Péninsule ibérique au 1er siècle apr. J.-C. Ophélie Vauxion ...... 753 Cubicula y triclinia pintados en Hispania: articulación del espacio, sistemas decorativos e iconografía Gaule Belgique et Germanies Carmen Guiral Pelegrín ...... 621 Die römische Wand- und Deckenmalerei Los programas decorativos de los ambientes in den beiden Germanien und der Gallia privados del Conventus Caesaraugustanus Belgica durante el siglo I d. C. Renate Thomas ...... 761 Lara Iñiguez Berrozpe ...... 639 Bemalte Wände und Decken in der Apolo y las Musas de Carthago Nova niedergermanischen Colonia Ulpia Traiana Alicia Fernández Díaz, Irene Bragantini, (CUT) bei Xanten im Kontext von Gebäude José Miguel Noguera Celdrán, Mª. José Madrid und Raum Balanza, Izakum Martínez ...... 655 Brita Jansen ...... 781

La imitación de opus musivum en pintura Roman wall-paintings mural en la provincia romana de la Bética from the lower Rhine and Meuse Alicia Fernández Díaz, Lara Laken, Stephan Mols, Lorenzo Suárez Escribano ...... 673 Louis Swinkels ...... 793

Sommaire 7 Répertoires ornementaux et icono graphiques Some examples of wall paintings en Lorraine du 1er au 3e siècle apr. J.-C. from Sirmium Adaptation aux espaces et évolution Dragana Rogic´ ...... 905 Dominique Heckenbenner, Magali Mondy ...... 807 Research on Roman Wall painting in Hungary between 2004 and today. La Suisse romaine: état des recherches Interpreting and reinterpreting the evidence et iconographie Krisztina Hudák, Levente Nagy ...... 913 Michel E. Fuchs, Yves Dubois ...... 825 La peinture romaine des provinces Les motifs dans les inter-panneaux des de Mésie, de Thrace et de Dacie peintures murales romaines découvertes Julia Valeva ...... 927 sur le territoire suisse Natasha Hathaway, Alexandra Spühler . . . .847 Un thème: le stuc

Rhétie et Norique Le stuc dans l’Empire. Les provinces au regard de Rome Die Wandmalerei in Noricum und Raetien Nicole Blanc ...... 945 im Spiegel der Forschungen nach 1989 Barbara Tober ...... 857 Conclusions Die römische Wandmalerei aus dem südlichen Noricum: Magdalensberg – In chiusura Virunum – Teurnia Irene Bragantini ...... 965 Ines Dörfler Ristow ...... 871

Abréviations ...... 973 Provinces balkaniques et danubiennes Index locorum ...... 975

Peinture murale dans la province romaine de Dalmatie Ivana Popovic´ ...... 883

Viminacium’s painting officina Dragana Rogic´ ...... 897

8 Sommaire Imitation alabaster: Varieties and symbolism in Roman paintings

labaster was one of the most prized stones in the ancient world. Its popularity for Simon J. Barker, Apavement and wall revetment in élite houses is confirmed by the increasing exploitation Simona Perna of its sources around the Mediterranean and its reproduction in the First, Second and Fourth style Roman paintings. Preliminary results of a survey of painted alabaster carried out by the present authors at several Roman sites in the Vesuvian area identified high accuracy in the reproduction of the variegated patterning of alabaster suggesting that Roman painters had become acquainted with real varieties as they were imported into . This paper demonstrate, through cases studies from , and Stabiae, that the imitations are fairly faithful renderings of the most popular Egyptian and non-Egyptian alabaster types. Moreover, the location of painted alabaster suggests that its use went beyond and that, like real alabaster, it had an underlying symbolic message.

Introduction Alabaster in the Ancient World

alcareous alabaster was one of the most liny the Elder (H.N. 36, 60) testifies to the Cvalued and sought after decorative stones Pnovelty of alabaster in mid-1st century BC in the ancient world for its variegated hues, Rome, where Lentulus Spinther and Balbus, gold polished surface and its symbolic signifi- in 54 BC and 13 BC respectively, were amongst cance. This paper presents the results of a sur- the first Romans to display alabaster objects. vey of 22 houses at Pompeii (fig. 1), the Villa of Recent studies demonstrate that from the the Mysteries (Pompeii), Villa A (ancient Oplon - 1st century BC, calcareous alabaster, especially tis) and the Villa Arianna (ancient Stabiae), of Egyptian origin, was used in the Roman which present examples of painted imitation world for the production of funerary vase- alabaster. This survey identified the high urns1, as well as floor tiles, inserts for pave- accuracy of Roman painters in reproducing ments and wall revetment in élite houses2. the variegated patterns of alabaster. By com- The growing popularity of this stone led to paring painted depictions of alabaster with the exploitation of other alabaster sources real alabaster use, this paper will demonstrate around the Mediterranean from the early im- that painted reproductions increased along- perial period. Alongside the Egyptian side the popularity of the real stone and that, and banded varieties, fiorito from Asia Minor despite a certain level of artistic reinterpreta- (Turkey), pecorella from North Africa ( tion, it is possible to identify the represented and Tunisia) and other rare Italian (Latium varieties as fairly accurate imitations not only and ) alabasters began to appear in of the most popular Egyptian alabaster types Roman contexts3. but also non-Egyptian varieties. Furthermore, From the late-Republican period, painted the settings where painted alabaster appears alabaster also appeared in First and Second seem to suggest that its use went beyond style Roman paintings with highly accurate aesthetics. With reference to key Vesuvian reproductions reaching unprecedented levels contexts, this paper will argue that an under- in the Second style. The constant and accurate lying symbolic message prompted its selection reproductions in painting reflect the increas- for the decoration of meaningful spaces with- ing popularity of this stone and a familiarity in the house, while stressing the sacredness of by painters with the many real varieties as certain painted scenes within frescoes. they came into use in Italy. It seems that the popularity of painted alabaster mirrored the early importation, use and fashion for this

1 Perna 2014. 2 Barker/Perna forthcoming. 3 Lazzarini et al. 2012.

405 stone during the same period. However, ture (africano, pavonazzetto, giallo antico). In despite the continued use of real alabaster addition, during the Fourth style period, new at Pompeii during the Fourth style period, varieties of real were introduced, such painted alabaster was significantly reduced as porfido rosso and serpentino. Their introduc- with only one identifiable example at the tion in painted form during this period (post House of the Golden Bracelet (VI 17, 42). The AD 45) closely mirrors the market for real influx of new polychrome , which stone, where the trend for displaying new and were also replicated in painted form, suggests rare stones became increasingly important9. a shift in during this period. When real marble varieties became more avail- able in Rome as in Pompeii, painted marble decreased in popularity, but did not complete- Painted marble ly disappear from Fourth style frescoes10. in the Vesuvian Area Moreover, the hypothesis that certain real marble types were displayed only in Rome or ainted imitation marble, inspired by the exclusively in public buildings, where painters PHellenistic fashion, can be seen in numer- would have seen them, is not completely ous Pompeian wall paintings from 50 BC to satisfactory. Recent research has shown that, AD 794. To-date, several hypotheses on the albeit in small quantities, most of the fashion- nature of painted marble decoration have able real varieties reproduced in painting were been proposed. Crucial to these debates is already in use in the Vesuvian area in the early whether the choice of imitation marble was 1st century AD11. Roman Campania, and thus related to the cost and availability of real the Vesuvian area, was quite well placed in marble5 and thus whether the painted version terms of marble access as early as the late Re- acted as a substitute6, was due to decorative publican period. In fact, important commer- tastes and of composition7, or cial towns, such as the busy port of Puteoli, reflected trends and patterns in real marble suggest that Campania may have been an im- use8. These hypotheses need not be mutually portant hub for the trade in marble, meaning exclusive, however, many fail to fully explore that painters did not have to travel as far as the relationship between imitation marble Rome to see the varieties, as these would have and the trade in real stone. been on display in the vicinity. In addition, Painted imitations of polychrome marble tiles and inserts of real stone in the pavement in general, and alabaster in particular, were of a house could have been reproduced on a likely both practical and aesthetic in nature. much larger scale on the walls of an entire The high cost of imported decorative stones room, and pattern books may have been avail- and their overall availability on the market able to help painters recreate various stones. must have prompted customers seeking to This survey has also shown that only cer- decorate their houses with this new, yet tain rooms and spaces within houses were scarce, commodity to seek alternative ways to decorated with painted marble and/or real achieve this. Painting would have provided stone – a choice driven by the function and a suitable, yet not necessarily cheap, alter - designation of each room12. Therefore, the native as painters became highly skilled in links with real marble-use, specifically within reproducing certain marble types, especially individual decorative schemes at Pompeii, over the course of the Second style period. Al- needs to be fully explored and quantified. abaster, whose varieties were amongst the The potential for such a study is demonstrat- earliest and most fashionable stones to be im- ed by the real and painted alabaster-use at ported (and imitated) in Roman domestic Pompeii discussed below. painting, demonstrates the close relationship between the rising popularity of certain poly- chrome stones and their imitation. It is Painted Alabaster notable that not all varieties of stone were imitated in painting; only those that could The houses and of the Vesuvian area guarantee a high visual impact, be successfully present outstanding examples of painted reproduced by the painter and be easily iden- alabaster. Alabaster was one of the first non- tified by the viewer were depicted. These are Italian decorative stones to be used in Vesu- the same polychrome marbles commonly used vian houses and villas13, however during the at Pompeii and favoured in imperial architec- Second style period it was most likely not im-

406 S. J. Barker, S. Perna mediately available in significant quantities. went hand-in-hand with the increasing pop- Fig. 1 Pompeii. At Pompeii, of the c. 105 houses that display ularity of this stone. At the House of Ceres Distribution of houses polychrome marble, only 23 had real ala bas - (I 9, 13) and the House of the Fruit Orchard (including the Villa of ter. Similarly, of the 60 houses, which retain (I 9, 5) at Pompeii, the painted onyx with the Mysteries) with painted imitation or are known to have had painted imitation honey yellow and creamy white wavy band- alabaster (n = 23). marble, painted alabaster can be identified in ing reproduces the banded thick layers 22, and only 4 houses possessed both real and typical of real Egyptian onyx alabaster (fig. 2,b Map S. J. Barker/S. Perna. painted alabaster. Yet, enough real alabaster and c–d). At the House of M. Caesius Blandus was on display in both private and public (VII 1, 40) also at Pompeii, the painted onyx settings that painted representations would with dark yellow, red and green wavy horizon- have found a clear resonance with viewers tal banding reproduces the hues and patterns during this period. typical of the so-called Egyptian cotognino Our survey shows that despite a certain alabaster (fig. 2,e and c–d). The same varieties level of artistic reinterpretation, the painted are accurately reproduced in the Second style varieties are fairly faithful imitations of the frescoes at Villa A (Room 5, fig. 2,a; Room 11) most popular Egyptian and non-Egyptian and the Villa Arianna (Room 3). Other ex- alabaster types. The top painted varieties tremely realistic Second Style examples of the recorded are Egyptian alabaster (52 % of the onyx and cotognino varieties in the Vesuvian total) and alabastro fiorito (28 %). 20 % of the area can be found in several contemporary painted alabaster was unidentifiable due to luxury villas, such as Villa 6 at Terzigno, where poor state of conservation or because the onyx alabaster occurs in at least three rooms variety was not clear, particularly those in (41, 25 and 28)14, and in at least two rooms First style paintings (e. g. House VI 16, 26). At (G and I) in the Villa of Fannius Synistor at , only the House of the Alcove features painted imitation alabaster (in all 4 Eristov 1979. probability fiorito). At Pompeii, during the 5 McAlpine 2014. Second style (60–40 BC), the period with the 6 van de Liefvoort 2012. largest number of houses (13) with painted 7 Vander Kelen 1998. alabaster, we find Egyptian onyx is the pre- 8 Fant 2007. dominant variety depicted, being found in 9 Fant et al. 2013. 10 McAlpine 2014 7 locations. This ratio corresponds to the use . 11 Fant et al. 2013. of real Egyptian onyx attested at Pompeii 12 Allison 1992. during this same period. This datum thus 13 Barker et al. forthcoming. demonstrates that the painted reproductions 14 Cicirelli 1999.

Imitation alabaster: Varieties and symbolism in Roman paintings 407 c

b

a d e

Fig. 2 Egyptian onyx (cotognino and banded varieties) reproduced in frescoes. a Oplontis, Villa A, Room 5; b Pompeii (I 9, 13), Casa di Ceres; c Pompeii, , Room 6; d Stabiae, Villa Arianna, Room 3; e Pompeii (VII 1, 40), House of M. Caesius Blandus. Photos S. J. Barker/S. Perna.

Boscoreale15. These latter examples are all Villa of the Mysteries roughly contemporary and date to c. 50– 40 BC16. In addition to the wider distribution The Villa of the Mysteries preserves impressive of painted onyx in the Second style, we also painted wall decoration, datable to the Second find non-Egyptian fiorito alabaster. Real fiorito style period (60BC) in several rooms: atrium 64, and banded varieties, including those from oecus 6, six cubicula (3, 4, 8, 14, 15 and 16), Pamukkale near ancient Hierapolis in Asia and the large triclinium 5. In conjunction with Minor, began to be imported into Italy by the the installation of these paintings, the villa late Republican/early Augustan period17. The featured a number of Second style pavements use of this stone in the Vesuvian area is with inserts of local and Egyptian less common, but its painted representa- onyx alabaster. The villa also preserves the tions, characterized by orange, red and dark largest amount of painted alabaster in a single brown flowery patches and concentric swirls context. Alabaster panels in 4 of these rooms (fig. 3,a–g), can be identified as the fiorito from (cublicula 3, 15, 16 and oecus 6) can be identi- Hierapolis. There are several very realistic ex- fied as Egyptian onyx, large quantities of amples of this alabaster: the House of the Four which are inserted into the many floors of Styles (I 8, 17) and of the Silver Wedding (V 2, I) the villa (F1–F3, P1–P4, 62, 4; fig. 4). and the House of the Naviglio (VI 10, 11) at The finest example of painted alabaster is Pompeii. The latter is a recently discovered in triclinium 5, «the Mysteries room» (fig. 3,a). fragment of from the oecus 16 and has The alabaster can be confidently classified as been stylistically ascribed to the late First fiorito from Asia Minor as it presents close Style phase18 (early 2nd century BC), thus making it the earliest painted example of the fiorito variety identified in the Vesuvian area. 15 Bergmann 2010. This variety is also present in a limited number 16 Moormann 2006. of rooms at the Villa of the Mysteries, includ- 17 Scardozzi 2012. ing «the Mysteries room» (fig. 3,a and c). 18 Papini 2009.

408 S. J. Barker, S. Perna a d

b

e

c

g

f

Fig. 3 Fiorito alabaster reproduced in frescoes. a Pompeii, Villa of the Mysteries, Room 5; b Oplontis, Villa A, Room 5; c Pompeii, Villa of the Mysteries, Room 4; d Oplontis, Villa A, Room 11; e Pompeii (VI 11, 10), House of the Labyrinth; f Pompeii (VI 11, 10), House of the Labyrinth; g Pompeii (VI 13, 19), House of Sextus Pompeius Axiochus. Photos S. J. Barker/S. Perna.

Imitation alabaster: Varieties and symbolism in Roman paintings 409 Fig. 4 Pompeii, similarities with real inserts of this type, but as a symbolically charged means to evoke Villa of the Mysteries. particularly with the varieties quarried near the real and imagined link with the god’s Location of real and Hiera polis. This alabastro fiorito, which is also country of origin and to further underline painted alabaster. one of the most realistically painted represen- the «sacredness» of the painted scene. After Esposito/Rispoli 2013, tations of this stone in the Vesuvian area, 70. decorates the upper frieze of the famous cycle of paintings depicting Dionysiac rites. It is Symbolism of Painted Alabaster evident, from the location and level of detail in its rendering, that it represents an impor- he Villa of the Mysteries aptly shows a tant element within the overall fresco. T hierarchy in the use and distribution of Furthermore, that alabaster was not a both painted and real alabaster, with painted mere decorative element, but an important fiorito confined to the most important spaces component within the visual representation in the villa. In many Vesuvian houses, painted of the mystery rites, is confirmed by the pres- alabaster use went beyond aesthetics and its ence of two elements inside the painted selection for the decoration of certain spaces scene: a cubic block (a rock?) on which a was motivated by cultural considerations con- is sitting (panel on wall opposite the nected to the country of origin (e. g. Egypt or entrance) and a parallelepiped (base?) under Asia) of the stone, and the symbolic powers the stool of the seated woman (panel on left conferred onto it. The evidence from our wall). These elements further connect alabaster survey shows that painted alabaster is found to its «hieratic» role (see further below). first and foremost in public rooms within the The origins of the god of wine, Diony- house, such as atria and triclinia. The explana- sius/Bacchus, and the related mystery rites to tion for such an occurrence lays, quite likely, which the frescoes allude, both originate in the fact that not only do painted stone from Asia Minor. The choice of this stone, panels reproduce real marble but they also therefore, should not be seen as coincidental represent an attempt at evoking the

410 S. J. Barker, S. Perna where they originally appeared19. Tales of élite Hellenistic palaces, such as Lucan’s descrip- tion of ’s palace (Phars. vv. 114–117), whose interiors were lined with costly varie- gated stone, particularly alabaster, must have further prompted wealthy Roman house own- ers to recreate that «regal» decoration in their own domestic spaces both to impress their guests and to express their aesthetic tastes. The occurrence of painted polychrome panels associated with articulated architectural land- scapes in rooms with a public ceremonial , such as triclinia, may suggests just this; however, in rooms with more intimate, «ritual» functions, such as cubicula or oeci, more profound symbolic connotations may be envisaged behind the choice of the stone and the setting in which it was reproduced. The fact that painted alabaster features in cubicula constitutes a strong argument for this interpretation. Studies of Egyptian monumental archi- tecture have argued that coloured stones were used in buildings specifically because of their symbolism20. In particular, from the pharaonic period real alabaster was associated with light and purity, because of its whiteness21, and thus it lined the floors in «ritual contexts», such as temple halls and mortuary chambers. Alabaster was also believed to have religious powers, such as that of rebirth, and various «miraculous» properties. It cannot be excluded that the painted imitations of this stone were believed to have the same magical powers that were then carried into later periods. The fact that painted panels of this stone decorate the walls of Hellenistic and Graeco-Roman tombs at Alexandria22 argues for this ritual Fig. 5 Pompeii (I 8, 17) House of the Four Styles. Mantela (towel) connotation. Similar symbolic considerations hanging from a panel of painted alabaster in the cubiculum. may be envisaged also in the case of painted Photo S. J. Barker/S. Perna. alabaster featuring in specific settings of Ro- man houses, such as cubicula. For example, it appears that cubicula were not just the hub of intimate life in Roman houses but also were thus deemed particularly apt for the decoration spaces of «private» worship where religious of cubicula, «sacred» rooms par excellence. practices took place. This is evidenced by the This is further suggested by the representa- finding of figurines depicting Cubiculi, tion of what can be interpreted as a mantela which were named after the rooms in which (towel) hanging from a panel of painted they were worshipped23. alabaster in the cubiculum of the House of the It is also evident that the cubiculum was «an intimate, but not necessarily uncommit- ted space»24 within the house and thus its 19 Wallace-Hadrill 1994. 20 Spence 1999. decoration was still aimed at grabbing the 21 Aufrere 1991. attention of those frequenting those spaces. It 22 McKenzie 2007; Venit 2015. can be plausibly argued that painted alabaster, 23 Nissinen 2012, 25. which possessed an aura of «sacredness», was 24 Anguissola 2011.

Imitation alabaster: Varieties and symbolism in Roman paintings 411 Four Styles (I 8, 17; fig. 5). Linen napkins or This latter instance confirms that alabaster towels, depending on their context of use, was imbued with a complex symbolism and were in fact connected with both daily do- its use, particularly in painted form, went be- mestic life, for wiping the hands after the yond solely decorative functions. meal during banquets (mappa), and religious contexts, for wiping the hands of the priest Simon J. Barker before the sacrifice (mantela)25. In addition, British School at Rome mantelae were also used for gathering the [email protected] cremated remains from the pyre, a practice known as ossilegium (Tibullus, Eleg. III.2.15), Simona Perna or wrapping the funerary urn26. Therefore, Independent Researcher, Naples the representation of such an instrumentum [email protected] sacrum in association with painted alabaster clearly articulates the intention to further 25 Petrut¸/Mustat¸a˘ 2010. emphasize the ritual character of the context. 26 Perna 2014.

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