DOCSLIB.ORG

Zebrapatterns in Campanian Wall Painting: a Matter of Function

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Zebrapatterns in Campanian Wall Painting: a Matter of Function BABesch 78 (2003) Zebrapatterns in Campanian wall painting: a matter of function Lara Laken Abstract Zebrapatterns are paintings with black and white stripes, usually covering the lower zone of a wall and often divided in panels reminiscent of marble imitation. They were in use in the Vesuvius area during the second half of the first century AD. Because they mainly appear in passage rooms, they have previously rarely been described and are generally thought to be secondary decoration, restricted to service areas. Thorough study of the pattern within its spatial context however leads to a different point of view: zebrapatterns were used in the first place to define public or common space. INTRODUCTION* only been found in the Vesuvian region.5 They are thus not only confined topographically, but also One of the first wall paintings that catches the eye chronologically, because they were all painted upon entering the excavations of Pompeii through before 79 AD. Within this region, they are found the modern entrance at the Porta Marina, is a pat- in different spaces from the other all-over pat- tern of black and white stripes. It is situated along terns. Therefore it seems worthwhile to discuss a stairway directly to the right of the main road them in a separate article.6 that leads through the city gate (fig. 1). These stairs belong to the so-called Villa Imperiale, a building TYPOLOGY discovered after a bombardment in 1943 that de- molished the Antiquarium above.1 Similar paint- The pattern usually appears as a high dado, some- ings are to be found across the street in an apart- times placed above a separate plinth, and varies ment complex linked to the Suburban Baths. These in height from ca. 1.30 to 2 m. It generally covers paintings cannot be easily seen since they are sit- the lower part of a wall divided into two painted uated behind a closed gate and are much more horizontal zones, and is then combined with a worn. In Pompeii alone there are presently at least plain white or simply decorated upper zone.7 The 28 examples in 10 buildings, and there are proba- pattern is usually divided vertically into panels bly many more that have been washed away by marked by yellow or red borders. rain, wind and sun. It is surprising that these kinds of paintings have been neglected by scholars for many years, and were rarely even described.2 These ‘zebrapatterns’ consist of a repeated sys- tem of black and white stripes oriented in vary- ing directions. Until recently they have always and exclusively been considered as secondary decoration, because they mainly appear in rooms with minor functions such as corridors, ramps, staircases and passages.3 Zebrapatterns are strongly linked to all-over patterns like checkerboard-pat- terns and geometrical and/or floral patterns.4 These repetitive patterns all appear in the same period: from about 50 to 79 AD. At this time, the Fourth Pompeian Style was flourishing, a typi- cally eclectic style of painting, in which many Fig. 1. Pompeii, Villa Imperiale, stairway with zebra- new combinations were introduced. Unlike other decoration. The same decoration was painted along the all-over patterns, zebrapatterns seem to be a truly stairs to the upper floor, as can be seen through the regional phenomenon. Up till now, they have window (photo: author). 167 Fig. 2. Oplontis, so-called Villa of Poppaea, peristyle Fig. 3. Oplontis, so-called Villa of Poppaea, corridor [32], S-wall and SE-corner. The zebrapattern was [76], detail of W-wall: transition from middle to upper applied to both main and upper zone, and to the zone, and panel division in both zones. The vertical columns (photo: author). stripes (as well as the diagonal stripes) are straight (photo: author). An exception is found in the peristyle [32] in the Villa of Oplontis (fig. 2). Here the pattern was applied to the entire wall and even to the ceiling8 and columns, in panels of differing proportions of which the arrangement is reminiscent of the First and early Second Pompeian Styles: dado, orthostates and isodomic courses.9 Corridors [76] and [46] in Oplontis are slightly incongruous as well, because these have upper zones decorated with a common, although simple, Fourth Style system (figs. 3-4). The strokes in the zebrapatterns are either wavy or straight.10 Different variants occur next to each other, in large quantities, in the Villa of Oplontis. In the peristyle [32] of this villa, panels with waves even alternate with panels of straight stripes. Based on this, it is hard to determine any chronological development of the patterns; they do not appear to become more and more schematic over time. Not all zebrapatterns are divided into panels; sometimes the pattern continues without any interruption. Such is the case in the corridors of two large public buildings: the porticus of the Palaestra in Herculaneum and the gallery of the Amphitheatre in Pompeii. In the first, the strokes fan out like the leaves of big plants (fig. 5); on the south wall they even start bending (fig. 6). The same system is found in the continuous decora- tion along a staircase in the Casa del Bracciale d’Oro in Pompeii (VI 17,42, fig. 7) and in corridor [26] of the so-called Villa of Ariadne in Stabiae. In the Amphitheatre, on the other hand, the strokes Fig. 4. Oplontis, so-called Villa of Poppaea, corridor all point towards the right (fig. 8). This kind of [46], dado, main and upper zone (N-wall). The yellow pattern was used in ramp [A1-2] to the lower level bands in the upper zone correspond with those between of the Casa dell’Albergo in Herculaneum (III 19), the zebrapanels (photo: author). 168 and in the common corridor [22] of the apartment complex on the second floor of the Suburban Baths. For most of these continuous patterns the strokes are always straight, but at the upper sto- ries of the Suburban Baths, the one continuous pattern in corridor [22] has waves, like all other zebrapatterns in this apartment complex. Also in the Casa dell’Albergo the pattern may have had a wavy system, at least it looks as if the white paint was wavy, but it is too worn to tell now. ORIGIN As all four Pompeian styles are mainly based upon imitations of either a certain material, or an archi- tectural system, a famous mythological painting or sculptural group (mostly Greek masterpieces), logically one of the first questions that comes to mind when studying Roman wall painting, is what source inspired the painter. Concerning Fig. 5. Herculaneum, Palaestra, porticus N (western Fig. 7. Pompeii, Casa del Bracciale d’Oro (VI 17,42- part), N-wall: continuous pattern of stripes in all 44), stairway with continuous zebrapattern (S-wall, directions (photo: Daniel Castor). taken from W; photo: author). Fig. 6. Herculaneum, Palaestra, porticus N (western part), S-wall: continuous pattern in which the stripes Fig. 8. Pompeii, Amphitheatre, eastern corridor of bend over (photo: Daniel Castor). main gallery (photo: author). 169 repeating patterns, from which architectural ele- els (orthostates) and smaller, rectangular blocks ments and mythological scenes are usually (isodomic courses) is similar to the features of the excluded, this question is specific to the imitated First Pompeian Style, which was based on the material. rendering of constructions in stone; this strength- For zebrapatterns the most often proposed ens the presumption that this painting too refers solution is that they are an imitation of marble to stone imitation. However this does not explain slabs, the kind of marble, when specified, being why these striped surfaces are also applied to the bardiglio.11 Still it is not in all cases clear whether ceiling (fig. 12). One would not expect a real ceil- stone imitation has been the intention. Accordingly, ing to be faced with marble slabs. The risk of they have not been included by H. Eristov in her pieces falling down would be serious, and in fact catalogue of painted marble incrustations in I do not know any example of a ceiling with mar- Pompeii (1979).12 It also seems illogical, that in the ble slabs, neither visible by marble remains nor series Pitture e pavimenti di Pompei (PPP) and by imprints indicating that they were there. Pompei, Pitture e mosaici (PPM) the zebrapattern I will come back to the discussion about stone with diagonal, nearly horizontal strokes in the imitation. First I would like to explore alternative fauces of Pompeii VI 16, 26-27 is called an imita- possibilities. Taking into consideration what was tion of bardiglio, while the zebrapattern with ver- said above about the peristyle in Oplontis, we may tical strokes which decorated the façade of the also look at it as a depiction of wooden panels. If same house is not.13 this was the underlying idea, the black and white There are various possible arguments for an stripes might give a little too much contrast just imitation of stone. Some zebrapanels have a white to suggest the graining of wood. In this case, an inner line, which usually suggests projection and imitation of timber framing, as was once suggested therefore points to a relation to stone. However, to me by E.M. Moormann, is more probable: the shading has not been used nor have efforts been yellow frames around the panels may be inter- made to make the ‘veins’ of the marble stand out preted as wooden frames, the black and white in such a way as to portray real stone. Of course stripes as reed or small branches and clay or stucco the painting of an inner line could have changed respectively.14 However, for constructive timber into a meaningless practice, but there are also a framing, the range of shapes that is represented lot of panels without inner lines.
Load more

Recommended publications
  • Introduction
    INTRODUCTION Background The present study concerns materials used for Pompeian wall paintings.1 In focus are plasters of the early period, related to the Samnite period and the so called First style. My earlier experiences the field of ancient materials were studies of Roman plasters at the Villa of Livia at Prima Porta and fragments of wall decorations from the demolished buildings underneath the church San Lorenzo in Lucina in Rome. These studies led to the hypothesis that technology reflects not only the natural (geographical) resources available but also the ambitions within a society, a moment in time, and the economic potential of the commissioner.2 Later, during two years within the Swedish archaeological project at Pompeii, it was my task to study the plasters used in one of the houses of insula V 1, an experience that led to the perception that specific characteristics are linked to plasters used over time. In the period 2003-2005, funding by the Swedish Research Council made possible to test the hypotheses. The present method was developed at insula I 9 and the Forum of Pompeii with the approval of the Soprintendenza archeological di Pompei and in collaboration with the directors of two international archaeological teams.3 It became evident that plaster’s composition changes over time, and eight groups of chronologically pertinent plasters were identified and defined A-H. Based on these results, I assume there is a connection between the typology and the relative chronology in which the plasters appear on the walls. I also believe these factors are related not only in single buildings or quarters but over the site and that, hypothetically, the variations observed are related to technology, craftsmanship and fashion.
    [Show full text]
  • The Nature of Hellenistic Domestic Sculpture in Its Cultural and Spatial Contexts
    THE NATURE OF HELLENISTIC DOMESTIC SCULPTURE IN ITS CULTURAL AND SPATIAL CONTEXTS DISSERTATION Presented in Partial Fulfillment of the Requirements for The Degree of Doctor of Philosophy in the Graduate School of The Ohio State University By Craig I. Hardiman, B.Comm., B.A., M.A. ***** The Ohio State University 2005 Dissertation Committee: Approved by Dr. Mark D. Fullerton, Advisor Dr. Timothy J. McNiven _______________________________ Advisor Dr. Stephen V. Tracy Graduate Program in the History of Art Copyright by Craig I. Hardiman 2005 ABSTRACT This dissertation marks the first synthetic and contextual analysis of domestic sculpture for the whole of the Hellenistic period (323 BCE – 31 BCE). Prior to this study, Hellenistic domestic sculpture had been examined from a broadly literary perspective or had been the focus of smaller regional or site-specific studies. Rather than taking any one approach, this dissertation examines both the literary testimonia and the material record in order to develop as full a picture as possible for the location, function and meaning(s) of these pieces. The study begins with a reconsideration of the literary evidence. The testimonia deal chiefly with the residences of the Hellenistic kings and their conspicuous displays of wealth in the most public rooms in the home, namely courtyards and dining rooms. Following this, the material evidence from the Greek mainland and Asia Minor is considered. The general evidence supports the literary testimonia’s location for these sculptures. In addition, several individual examples offer insights into the sophistication of domestic decorative programs among the Greeks, something usually associated with the Romans.
    [Show full text]
  • Summary of the Periodic Report on the State of Conservation, 2006
    State of Conservation of World Heritage Properties in Europe SECTION II discovered, such as the Central Baths, the Suburban Baths, the College of the Priests of ITALY Augustus, the Palestra and the Theatre. The presence, in numerous houses, of furniture in carbonised wood due to the effects of the eruption Archaeological Areas of Pompei, is characteristic of Herculaneum. Hercolaneum and Torre The Villa of Poppea is preserved in exceptional way Annunziata and is one of the best examples of residential roman villa. The Villa of Cassius Tertius is one of Brief description the best examples of roman villa rustica. When Vesuvius erupted on 24 August A.D. 79, it As provided in ICOMOS evaluation engulfed the two flourishing Roman towns of Pompei and Herculaneum, as well as the many Qualities: Owing to their having been suddenly and wealthy villas in the area. These have been swiftly overwhelmed by debris from the eruption of progressively excavated and made accessible to Vesuvius in AD 79, the ruins of the two towns of the public since the mid-18th century. The vast Pompei and Herculaneum are unparalleled expanse of the commercial town of Pompei anywhere in the world for their completeness and contrasts with the smaller but better-preserved extent. They provide a vivid and comprehensive remains of the holiday resort of Herculaneum, while picture of Roman life at one precise moment in the superb wall paintings of the Villa Oplontis at time. Torre Annunziata give a vivid impression of the Recommendation: That this property be inscribed opulent lifestyle enjoyed by the wealthier citizens of on the World Heritage List on the basis of criteria the Early Roman Empire.
    [Show full text]
  • Discussion and Conclusions
    Discussion and Conclusions It is clear that the plasters investigated fall into very distinct groups. The vast majority of samples are clearly distinctive, and there is generally no problem in placing them into specific groups, determined by macroscopical observations. These groups of plasters are always found in the same sequence, wherever a sequence of plasters is visible. Eight different groups of plasters have been identified and are listed in chronological order from A to H. The earliest plaster type is not necessarily the same in all buildings, though this was sometimes the case. Not all phases are represented in every house, probably because the owner did not need or have any wish to redecorate. Plasters in group C, for example, were used for 2nd style decorations in three houses in insula I 9. At the Forum, such a plaster was found only in the cella of the Temple of Jupiter. On the other hand, plasters in group E, connected with the 3rd style, were found in all houses in the insula and was common also at the Forum, used in all buildings except for the Basilica, where only earlier plasters were found, and the Macellum, which had only later decorations. The chronological order of groups and phases is clear, but what do we know about the correlation between plasters and styles? This is more problematic, not least of all since there is no unconditional agreement on their dating. When discussing with myself, I think of plasters in terms of “1st style”, “2nd” and so on, since the typologies are clear and I know this kind of definition is not explicit.
    [Show full text]
  • The Insula of the Menander at Pompeii: Interim Report
    THE INSULA OF THE MENANDER AT POMPEII: INTERIM REPORT By ROGER LING, F.S.A. INTRODUCTION THE British project in the Insula of the Menander at Pompeii was instituted in 1978 by the late Dr. J. B. Ward-Perkins in consultation with the then Superintendent of Antiquities for Campania, Professor Fausto Zevi. Funding has until now been provided by a generous grant from Imperial Tobacco Ltd., a proportion of the profits of the exhibition 'Pompeii 79' held at the Royal Academy of Arts, London, in 1976-7. To these mentors and sponsors the author is deeply indebted—to Imperial Tobacco for their enlightened patronage of archaeological research, to Professor Zevi for first suggesting a programme of recording and analysis in the Insula of the Menander, and above all to Dr. Ward-Perkins for taking up the suggestion and largely shaping the present project. This project is in a very real sense his brainchild, and it is as a tribute to his memory that we intend to continue with it and bring it to completion in the manner that he would have wished. Special thanks must also be given to Dr. Stefano De Caro, the Director of the site at Pompeii, who has been unfailingly courteous and helpful over the past five years, and to his henchmen, Dr. Federico, the assistant director, Sig. Pelli, the technical director, Sig. Cirillo, his assistant, and Sig. Sicignano, the head foreman, for their invaluable practical assistance. Finally, mention must be made of the chief members of the team. After a brief exploratory season in September 1978, full programmes of work have been conducted in August-September 1979, 1980, 1981 and 1982.
    [Show full text]
  • Herculaneum Archaeology
    The Fifth Herculaneum Congress - Robert Fowler Talks at the Villa Maiuri as part of the Fifth Herculaneum Congress - Richard Janko Other News Suburban Baths - tetrastyle atrium - herm of Apollo the newsletter of the Friends of Herculaneum Society - Issue 18 Summer 2014 of the Friends Herculaneum the newsletter herculaneum archaeology herculaneum The Fifth Herculaneum Congress1 Robert Fowler Henry Overton Wills Professor of Greek Bristol University One first-timer commented that you can tell this meeting is a success by the number of return attendees. Several veterans thought the Fifth was the best yet, and so it was said about all the previous ones. We like to think it’s because we are learning to do things better, rather than that an Olympic- style ritual declaration of the ‘best ever Games’ is taking hold. Yet that would be no bad thing, either; the pronouncement, however much expected, always meets with gleeful and often justified assent. Things nearly got off to a very bad start. Something not far short of an official hurricane (‘poco ci mancava’, said my taxi driver, ‘there wasn’t much in it’) struck the Monday before arrival and, though it miraculously harmed no one in Ercolano and damaged no archaeology, it did uproot trees, mangle safety barriers and create other hazards such that the site had been closed all week, only opening again on the morning we intended to visit. The Superintendency, which this year has been particularly disorganised in the matter of issuing permits, had not yet issued ours, and there was much anxiety Thursday night as to what would happen the next day.
    [Show full text]
  • Herculaneum Archaeology
    I In this edition: Ercolano Meeting, June 2010 - report by Robert Fowler, Trustee Herculaneum: an Ancient Town in the Bay of Naples - Christopher Smith, Director of the British School in Rome Pompeii and the Roman Villa: Art and Culture around the Bay of Naples. Report on the exhibition by Carol Mattusch House of the Relief of Telephus, Herculaneum herculaneum archaeology herculaneum Society - Issue 12 Summer 2010 of the Friends Herculaneum the newsletter Suburban Baths, not normally open to the public, and a peak inside the Bourbon tunnels in the Basilica—this was The Third Herculaneum a particular treat, as one could see some quite breathtaking original frescoes in situ, untouched by any restoration. The Conference narrow space could accommodate only three or four tightly Robert Fowler squeezed people at a time. 2. 3. 4. The Suburban Baths 1. The Gardens of the Miglio d’Oro The Friends met 11–13 June for their third gathering in Campania since 2006, in what is now an established biennial tradition. For repeat attenders it felt like a reunion, while at the same time it was gratifying to welcome a good number of newcomers. For the first two meetings we resided in Naples (hence the First and Second ‘Naples’ Congresses), but for this one we moved out to Ercolano itself, a prospect made enticing by the opening of the four-star Miglio D’Oro hotel, a spectacular, done-over 18th-century villa which made up in atmosphere—especially the garden—what it (so far) lacks in abundance of staff (in some areas). The experiment was judged successful both for its convenience and for the benefit we were able to deliver to the local economy, not just the Miglio D’Oro but to B&Bs and local businesses.
    [Show full text]
  • 371 (Taf. CXXVIII–CXXX, Abb. 1–10) Abstract I Palazzi Di Erode Nella
    S ILVIA ROZENBERG FIGURATIVE PAINTINGS IN HERODIUM: NEW DISCOVERIES (Taf. CXXVIII–CXXX, Abb. 1–10) Abstract I Palazzi di ErodeR|R= |#}R R[ da Roma#~[ - OP #[%- # }R# [R- } [|% |R=|- R [}R RR R[&pictores imaginari/- [- % a Herodium R# >>;} were embellished with frescoes, >?#=\>1, Herodium2, Masada3 and Jericho4 yielded both fresco fragments and decorated walls in situ#||> >'?# =;M?>=|>M >5. =>?[?6 allow us ???'? ?OP#- >[! 1 Netzer – Laureys-Chachy 2004, 233–280; Rozenberg 2008, 337–343. 2 Corbo 1989; Rozenberg 2008, 355–364. 3 Foerster 1995; Rozenberg 2008, 343–355. 4 Rozenberg 2008. 5 Rozenberg 2007, 193–201; Rozenberg 2008, 462–464. 6 >>?? '# 371 Silvia ROZENBERG >7. Adherence to the Western ?>? >#??} and local ??>;- >'?>'#= foreign workers is also evident in the opus reticulatum>- dens8. ??R'?9, it seems logical ? ? ????[ ?#> ???[> ?#?>> ?>&tectori/?? ?#>?- [{&pictor imaginarius/- cialized artist (pictor parietarius) who was in charge of the surrounding decoration10. [?>??#= [??>?&pictori parietari), ? > ??#=?>? [??# ='# ;??|>=|>?>> [ ?#= [ (pictores imaginari/ by A. BARBET?~11#- R>?$#12, if Herod ??? > # = [??{ [13, and not the result of the absence of a pictor imaginarius at the time. With- [;?[ claim, but lately the existence of a pictor imaginarius[ ?>?;. In 2006–2007 E. NETZER and his team ? ;R R ; ?>>&#*/14. The original tomb was built in the ;$'>?<915. In 2008 the remains of a small, royal theatre were found to the west of the mausoleum and the monumental 7 Rozenberg 1997a, 63–74; Porat – Ilani 1998; Rozenberg 2008, 273 f. 425–464; Edwards et al. 1999. 8 <^^*<^^j<9j#ª+j# 9 Allison 1989; Allison 1991; Andersen 1985. 10 Pliny, NH XXXV, 7.19. 11 Barbet 1974, 60 f. 12 Rozenberg 1997b, 283–285.
    [Show full text]
  • Pompeii and Herculaneum: a Sourcebook Allows Readers to Form a Richer and More Diverse Picture of Urban Life on the Bay of Naples
    POMPEII AND HERCULANEUM The original edition of Pompeii: A Sourcebook was a crucial resource for students of the site. Now updated to include material from Herculaneum, the neighbouring town also buried in the eruption of Vesuvius, Pompeii and Herculaneum: A Sourcebook allows readers to form a richer and more diverse picture of urban life on the Bay of Naples. Focusing upon inscriptions and ancient texts, it translates and sets into context a representative sample of the huge range of source material uncovered in these towns. From the labels on wine jars to scribbled insults, and from advertisements for gladiatorial contests to love poetry, the individual chapters explore the early history of Pompeii and Herculaneum, their destruction, leisure pursuits, politics, commerce, religion, the family and society. Information about Pompeii and Herculaneum from authors based in Rome is included, but the great majority of sources come from the cities themselves, written by their ordinary inhabitants – men and women, citizens and slaves. Incorporating the latest research and finds from the two cities and enhanced with more photographs, maps and plans, Pompeii and Herculaneum: A Sourcebook offers an invaluable resource for anyone studying or visiting the sites. Alison E. Cooley is Reader in Classics and Ancient History at the University of Warwick. Her recent publications include Pompeii. An Archaeological Site History (2003), a translation, edition and commentary of the Res Gestae Divi Augusti (2009), and The Cambridge Manual of Latin Epigraphy (2012). M.G.L. Cooley teaches Classics and is Head of Scholars at Warwick School. He is Chairman and General Editor of the LACTOR sourcebooks, and has edited three volumes in the series: The Age of Augustus (2003), Cicero’s Consulship Campaign (2009) and Tiberius to Nero (2011).
    [Show full text]
  • Hues of Art: Pigment Analysis of Unprovenanced Wall Painting Fragment from Pompeii
    Hues of Art Hues of Art: Pigment Analysis of Unprovenanced Wall Painting Fragment from Pompeii Tuuli Kasso 7KLV VWXG\ XVHV D QRQGHVWUXFWLYH DSSURDFK RQ IUHVFR IUDJPHQWV IURP 3RPSHLLIRFXVLQJRQWKHDUWLVW¶VSLJPHQWSDOHWWHXVHGLQWKHVWFHQWXU\ $' LQ 5RPDQ ZDOO SDLQWLQJV 7KH 7XNNLOD IUDJPHQWV ZHUH EURXJKW WR)LQODQGIURP3RPSHLLLQLQWKHDIWHUPDWKRI:RUOG:DU,,DQG WKH SUHFLVH SURYHQDQFH KRXVH LQVXOD LV QRW NQRZQ +RZHYHU REMHFWV µWKLQJV¶ DQG HYHQ IUDJPHQWV SURYLGH XV ZLWK NQRZOHGJH WKURXJKWKH PDWHULDOVWKH\ZHUHPDGHIURPOLQNLQJWRWKHFKRLFHDQGLQWHQWLRQ E\ WKHPDNHU3LJPHQWVFDQEHLGHQWL¿HGE\WKHLUFKHPLFDOFRPSRVLWLRQ LQ DGGLWLRQ WR ZDOO SDLQWLQJ WHFKQLTXHV 7KH LGHQWL¿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nstitute for European and Mediterranean Archaeology 33 Tuuli Kasso Introduction WKH ZDU HQGHG 3RPSHLL ZDV LQ D FKDRWLF VWDWH3KRWRJUDSKVVKRZWKHFUXPEOLQJ 7KHLPSDFWRIWKHGHYDVWDWLRQFDXVHGE\WKH YLOODH, and the surrounding mayhem. FDWDVWURSKLFHUXSWLRQRI9HVXYLXVLQ$' 6WUHHWV ZHUH VFDWWHUHG ZLWK SLHFHV RI ZDOO is most evident throughout the settlements paintings.5)LQQLVKDUFKLWHFW,LUR7XNNLOD
    [Show full text]
  • Roman Art: Pompeii and Herculaneum
    Roman Art: Pompeii and Herculaneum August 24, 79 AD A Real City with Real People: The Everyday Roads & Stepping Stones Thermopolia …hot food stands Pistrina Pistrina = bakery Aerial view of the forum (looking northeast), Pompeii, Italy, second century BCE and later. (1) forum, (2) Temple of Jupiter (Capitolium), (3) basilica. The Forum Aerial view of the amphitheater, Pompeii, Italy, ca. 70 BCE. Brawl in the Pompeii amphitheater, wall painting from House I,3,23, Pompeii, Italy, ca. 60–79 CE. Fresco, 5’ 7” x 6’ 1”. Museo Archeologico Nazionale, Naples. Pompeii was surrounded by a wall about 2 miles long Outside the Wall • Pompeians buried their dead outside the city wall. Inside the Walls • Buildings are packed close together Houses Restored view and plan of a typical Roman house of the Late Republic and Early Empire (John Burge). (1) fauces, (2) atrium, (3) impluvium, (4) cubiculum, (5) ala, (6) tablinum, (7) triclinium, (8) peristyle. Floor Plan – Villa of the Mysteries • The main entrance often included mosaics “CAVE CANEM” House of the Tragic Poet Atrium An atrium had a compluvium and an impluvium What was the purpose of these features? Purposes: • Collect rain water • Allow light to come in Reconstruction of the atrium at the Villa of the Faun Peristyles (court yards) House of the Vettii Villa of the Mysteries Wall Paintings • Generally, elaborate paintings covered the walls of every room Studious Girl, Fresco from a Pompeii Home. Not a portrait of an individual. Its purpose is too show that the inhabitants of the house were literate and cultured people. The Four Pompeian Styles • Division = Based on differences in treatment of wall and painted space First Pompeian Style • began 2nd century BCE • Goal: imitate expensive marble House of Sallust Samnite House, Herculaneum Second Pompeian Style • Began early 1st century BCE • Goal: create a 3D world on a 2D surface Villa of the Mysteries (oecus – banquet hall) Dionysiac mystery frieze, Second Style wall paintings in Room 5 of the Villa of the Mysteries, Pompeii, Italy, ca.
    [Show full text]
  • Marble, Memory, and Meaning in the Four Pompeian Styles of Wall Painting
    MARBLE, MEMORY, AND MEANING IN THE FOUR POMPEIAN STYLES OF WALL PAINTING by Lynley J. McAlpine A dissertation submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy (Classical Art and Archaeology) in the University of Michigan 2014 Doctoral Committee: Professor Elaine K. Gazda, Chair Professor Lisa Nevett Professor David Potter Professor Nicola Terrenato Emeritus Professor Norman Yoffee The difference between false memories and true ones is the same as for jewels: it is always the false ones that look the most real, the most brilliant. Salvador Dalí, The Secret Life of Salvador Dalí © Lynley McAlpine All Rights Reserved 2013 Acknowledgements This project would have been impossible without the guidance of my advisor and dissertation chair, Elaine Gazda, who has provided unflagging support for all aspects of my work. I am grateful to have been able to work under the supervision of someone who I consider a model for the kind of scholar I hope to become: one who has a keen critical eye and who values collaboration and innovation. I have also benefited greatly from the sensible advice of Lisa Nevett, who has always helped me to recognize the possibilities and limitations of my approaches and evidence. David Potter’s perspective has been indispensable in determining how literary and historical sources could be employed responsibly in a study that focuses mainly on material culture. Nicola Terrenato has encouraged me to develop a critical and rigorous approach, and his scholarship has been an important model for my own. Finally, Norman Yoffee has been a continual source of advice and guidance, while opening my eyes to the ways my research can reach across disciplinary boundaries.
    [Show full text]