AJA Online Publications: Museum Review

Beyond the Vesuvius Barrier: Colors and Continuities in Ancient Roman Painting

By Eleanor Winsor Leach

Roma: La Pittura di un Impero, Scuderie del and is now home to the president of the Italian Quirinale, , 24 September 2009–17 Republic—the exhibition owes its sponsorship January 2010, curated by Eugenio La Rocca, to the president, Giorgio Napolitano, and its Serena Ensoli, Stefano Tortorella, and Mas- organization to the Azienda Speciale Palexpo similiano Papini. and Mondomostre in collaboration with the Italian Ministry of Culture and the Superin- Roma: La Pittura di un Impero, edited by tendencies of Rome and Naples. Eugenio La Rocca, Serena Ensoli, Stefano Antiquity was colorful. La Rocca faults Tortorella, and Massimiliano Papini. Pp. the superior durability of marble sculpture, 333, b&w figs. 71, color figs. 172. Skira, with its vanished and hence unacknowledged Milan 2009. 38 ISBN 978-88-572-0425-3 colorings, for sustaining false impressions of (paper). white as the dominant color of ancient art. Because this seeming purity so appealed to the In the exhibition Roma: La Pittura di un Im- classicizing bias that dominated Renaissance pero, the Scuderie del Quirinale has mounted and 18th-century aesthetics, popular views of a display of more than 100 paintings from four ancient art have always been slanted toward centuries of artistic production, drawing in sculpture to the disadvantage of painting. large part upon the resources of the National The nature of written testimony has much Archaeological Museums of Rome and Naples, to do with this disequilibrium. Although the as well as the Vatican and six additional Euro- names of master Greek artists, both sculptors pean museums. The significance of “empire,” and painters, were household knowledge in as curator Eugenio La Rocca explains in his antiquity, the works of the sculptors can be press release, should be understood with conjecturally recognized in Roman copies, reference to Roman society during the Impe- whereas their counterparts in painting have no rial period rather than to the phenomenon of reliable traces. Among the Romans, La Rocca imperial power. Proposing to reveal the central reminds us, we know the names of only two merica importance of painting throughout Roman painters, both mentioned by Pliny the Elder society, the curators want not only to stress its in the art historical chapters of his Natural independence and originality over and against History (53.118–20): Studius, a painter of the Online Museum Review the too-common imputation of dependence Augustan period, and Famulus, who worked upon Greek artistry but also to reveal surpris- in Nero’s Golden House. Finally, our knowl- ing continuity with pictorial culture from the edge of actual painting is inevitably limited nstitute of A I nstitute rchaeological Renaissance onward. Brought forth in cel- by the repertoire of pictorial survivals, the ebration of the decennial anniversary of this preponderance of which have emerged from pril 2010) special exhibition space housed in a remodeled the ongoing excavations of Pompeii and Her- 18th-century building—originally constructed culaneum and other Campanian sites buried as a carriage house for the nearby Palazzo del by the eruption of Mt. Vesuvius in 79 C.E. But, opyright © 2010 by the A © 2010 by opyright ssue 114.2 ( A I Journal of ArchaeologyAmerican C Quirinale, which was once a papal residence as La Rocca notes, the products of this single  American Journal of Archaeology Online Museum Review area so abruptly destroyed are not sufficient not are destroyed abruptly so area 169–77, figs. 1–6 (Moregine); Bergman 2006, 498. conqueredfromFlamininus when B.C.E., 179 reach chronological show’s the encompasses that timeline a with themselves orient may Egypt’s Fayumarea. from portraits mummy some featuring traits topical subjects, and a selection of ancient por wall segments from Roman museums, paratactic several large including genres, varied of longer chronological extension and its display two differences of the current exhibition are its with images minor few a of overlapping the Notwithstanding mythological paintings. to prominence gave from Naples items to exhibition this of dedication As the title might suggest, the almost exclusive essays. scholarly with coverage pictorial full accompanied by a lavish catalogue combining Pompei a e Napoli di Museo del Pompeiano: La decorazione pittorica nelle collezioni of the Palazzo Massimo in Rome hosted in 2007, the National Archaeological Museum Moregine. at (inn) hospitium a and Terzigno at 6 excavations: recent from discoveries stunning two of debut the facilitated also it inhabitants; unfortunate ies’ cit Campanian the of fates and lives the for evidence material on largely focused Naples, of Museum Archaeological National the in Oplontis Ercolano, Pompei, tional traveling exhibition to be perennially popular. In 2003, the interna have become increasingly frequent and prove affected sites in Campania and their artworks the Vesuvian of cataclysm, exhibitions that focus on anniversary bimillennial 1979 the to ists andpatrons). politics and the forms and of rapport between art painting of relationship close the (e.g., evolution pictorial on influences grounded historically highlighting while painting of continuities stylistic and thematic consider to (2) and empire, the of moments later into 79 of terminus accidental the beyond reach its the exhibition has two main aims: (1) to extend Consequently,world. Roman the throughout for understanding the development of painting 3 2 1 Entering on the ground floor, visitors visitors floor, ground the on Entering back traced be can that resurgence Witha Nava et al. 2007. La Rocca et al. 2009, 151–55, 264, no. I.1 (Rome,I.1151–55,no. 2009, 264,al. etRocca La Guzzo 2003, 86–9, figs. 1–4 (Terzigno, Villa 6); (Terzigno, Villa 1–4 figs. 86–9, 2003, Guzzo Storie da un’eruzione: , which originated originated which , Rosso Pompeiano Rosso 1 Most recently,Most , an exhibition an , Rosso - - - - 2 ,

predominant motifs of these paintings prefig the comprise that fruits and birds the abundant and landscapes sacral-idyllic rendered finely the while boundaries, class across ing paint represent columbaria slaves), (former freedpersons of burials the with associated of the exhibition. Because they are commonly topics artistic the reachand social the both of microcosma as serve to selected thematically eral registers of niches and painted images, are position, these wall segments, comprising sev Villa Doria Pamphili in Rome. the of columbarium the from segments wall upward,looking confrontvisitors, two leries, gal exhibition the to leading ramp spiral the artistic monuments. Immediately at the turn of events, literary highlights, and other significant ordinates the images on display with historical of Constantinople in 330 C.E. This timeline co writing, to Constantine’s foundationwas Ennius of the when city and Macedon of V Philip Pamphili, Wall B). Museo Nazionale Romano, Colombario di Villa Doria Museo Nazionale Romano, Walls C, F). first The parts. two into thematically divides exhibition The each. to appearance different distinctly a give present layouts the installation varied although continuities, of tion illumina the fosters interconnection rupted uninter almost whose halls, long spacious of sequence a offers stories, upper two on cated rather thanintheexhibition. Massimo Palazzo the in displayed currently appears on a third columbarium wall segment which, along with other mythological Prometheus, subjects, rescuing Hercules of painting the see to catalogue the to turn must viewers though this description is stylistically accurate, by the artist of the mythological vignettes. Al contrast, the simpler linear outlines employed shading and attention to detail, but noting, by dense of means by forms of molding skillful the painter of birds and still-life motifs with a finely detailed renditions in swift, sure strokes, with artists landscape the crediting manship, guide suggests a tripartite division of the work audio the distinctions, stylistic fine out make to eyesight keen need would feet, several of of the show Although the viewer, at a remove on a grander scale along the subsequent route seen subjects still-life and landscapes the ure 4 h ehbto sae f h Suei, lo Scuderie, the of space exhibition The La Rocca et al. 2009, 153, 264–65, no. I.1 (Rome,264–65,I.12009,153,no.al. Roccaet La 3 In this prefatory ------4

 American Journal of Archaeology Online Museum Review floor, labeled as “Decorative Systems,” shows no. 87283). viArcheologici, DepositiSoprintendenza,della inv. ward by Scagliarini-Corlaità 1974–1976. material but also for its emphasis on landscape have been chosen not only because of the available may concentration this C.E.; 30 ca. to Augustan to Julio-Claudian years of 30 B.C.E. called Third Style, which flourished during the exhibition, this the In phase best C.E. represented 79 isof the terminus so- inevitable the to beginnings apparent its from painting city’s historian August Mau, art German 19th-century the by formulated tional vocabulary of the four Pompeian styles historical of conven story the with accordance in development a tells floor first the on above the additional an for rented be must it But hibition curators have set out to communicate. necessary for a full appreciation of what the ex for each painting, the audio guide is absolutely the absence of individual explanatoryof placardsview In dramatize. to aims exhibition the of the aesthetic and thematic continuities that explanation for vehicle the is guide audio the on available narrative stylistic detailed more social the contexts for the images. of A supplementary and indications some against tion evolu chronologystylistic offtraditional of a subjects with historical events. This text plays Italian and English, that coordinate both in the paintedparagraphs, large containing panels unfolds the exhibition narrative through wall wall on one side displays paintings; the other tal illumination. Within the galleries, only the less peril to their colors than would direct fron offer that penumbras glowing against clearly out stand behind, from illuminated cleverly no paintings, the with since viewing, to disadvantage but darkened are galleries the All portraits. and lifes, still life, daily of scenes categories: mythological subjects, landscapes, significant to according displayed are sizes the floor above, a variety of panels in different with some complementary small subjects. On combination in walls, entire occupy which of several segments, panel large of array an 9 8 7 6 5 The sequence of paintings and text panels text and paintings of sequence The La Rocca et al. 2009, 156, 265, no. I.2 (Pompeii, Sca Laidlaw 1985. Mau 1902, 456–70. This observation was influentially first put for influentiallyput observationfirst wasThis La Rocca et al. 2009, 157, 266, no. I.3 (Palermo,I.3 no. 266, 157, 2009, al. et Rocca La  10 admissionfee. 5 which encompass the  3.50 ------the trompe l’oeil rendering of drafted margintromperenderingdrafted the l’oeil of sion. Such a change is immediately apparentillu in perspectival of semblance a with ments ele architectural of depiction the is keynote from the repertoire of the Second Style, whose explicitly, MasonryStyle. more or, Style First called familiarly more is it style,” “constructed name the given Here world. Mediterranean the throughout also but in merely not found style a veining, imitating marble veneers its with varicolored patterns and of account on “incrustation,” type of decoration to which he gave the name house Pompeian a moving them. through while experiences user the spaces decorations of corridors and porticoes, whose customary the segments: paratactic mostly are 1–4 galleries in displayed examples The subjects, a major thematic interest of the show. Aldobrandini, inv. no. 41016). City, Biblioteca Apostolica Vaticana, Sala delle Nozze inv. no. 59469B). Soprintendenza, della DepositiArcheologici, Scavi inv. no. 2300). Salinas,” “Antonio Regionale Archeologico Museo the in them view ordinarily visitors which in position same wall—the porticus paneled a of top the at level, eye above them seen have the original viewers of these paintings would jority of Ulysses’ ships. Notwithstanding that ma the of work short made who trygonians the mountainous country of the cannibal Las panels of the series show the rocky harbor and Odyssey Homer’s of 9–12 books in Phaeacians the of ing adventures Ulysses recounted at the court house on the in Rome—depict landscapes, Vatican’sthe from panels two at rive beasts. large formidably of hunters on horseback or on foot combating of both orthostate panels presents lively scenes a cluster of incised line sketches at the centers graffiti: adventitious its is feature intriguing more even An Cryptoporticus. the of House fromsegment the wall a shutteredof pinakes and garland, figure, herm the in appear tion mask. comic a and fascia, garlands, with adorned Solunto masonry on a segment of orthostate wall from 11 10 The remainder of gallery 1 holds examples La Rocca et al. 2009, 160, 268–69, no. I.6 (Vatican La Rocca et al. 2009, 158, 266, no. I.4 (Pompeii,I.4 no. 266, 158,2009, al. etRocca La . These first and most picturesque picturesque most and first These . 11 9 a series—originally found in a in found series—originally a Figments of illusionistic projec illusionistic of Figments 6 Only a small fragment from fragment small a Only 7 represents Mau’s initial initial Mau’s represents 8 10 et vstr ar visitors Next, Odyssey ------

 American Journal of Archaeology Online Museum Review Vatican Museums—the eye-level installation eye-level Museums—the Vatican (Rome, Museo Nazionale Romano, Palazzo Massi PalazzoRomano, Nazionale Museo (Rome, landscape painting, see La Rocca 2009. British Museum, inv. no. 1867, 0508.1354). the Augustan milieu. Here, the transition to the landscapes offantasy. from real environments were transformed into topararia ars ing these landscapes with what Vitruvius calls developed by Renaissance recession painters. Reconcil perspectival structured logically the differentfrom markedly spatiality of tion concep a exhibits figures the of distribution the that understand to us ally,asks guide the votive homage, or just hanging tending, out. Addition flock as such activities in engaged figures slender of abundance an with technique that populates shrines, groves, and guide directs viewers to notice the quick sketch gnettes against white backgrounds, the audio vi to renditions perspective substantial from change landscapes As type. elongated more middle- and background figures of a sketchier, foregroundthe in giants hostile with contrast the of physiques molded strongly the where of the in as hands, multiple work the as explained often is example, for drawing, Figure paintings. the in see visitors to want curators the what highlights tion tosupply. this lacuna is thus left to the imagina visitor’s which is not represented in the exhibition, and consisting of large-scale architectonic illusion, the wall text mentions a subsequent phase IIb, when collapses continuity here, But IIa. Style Second calls narrative stylistic guide’s audio the what comprise segments wall large The turkeylike bodies on gawky birds’ legs (fig.chunky 1).with here shown are who Sirens, the of cliffs the passes ship hero’s the Style seascape, Fourth this In Ulysses. of mythology lent by the British Museum enlarges upon the panel small complementary AGreeks. the at figures on the mountainside heaving boulders diminished with perspective, aerial in scape land the of recession graded the and course homeward its from fleet Ulysses’ drive that of such faint background details as the winds here is a special treat, allowing clear perception 14 13 12 The next gallery places us squarelywithin us places gallery next The best guide audio the above, mentioned As La Rocca et al. 2009, 168–79, 272–74, nos. I.11, I.12 La Rocca et al. 2009, 162, 269–70, no. I.7 (London, o frhr icsin f ptaiy n Roman in spatiality of discussion further For , La Rocca suggests that elements that suggests Rocca La , 13 Odyssey landscapes, 12 ------

discovered during the construction of the Cir British Museum). Museum, inv. no. 1867.0508.1354 (© The Trustees of the x 33.5 cm, ca. 50–79 C.E. (Fourth Style). London, British 34.0 Pompeii, at probably wall, black a from detached Sirens, the and Ulysses of panel fresco Roman 1. Fig. 147501–147505). nos. inv. Nazionale, Archeologico Museo (Naples, F; inv. no. 180 C5 south wall of Triclinium C). mo, inv. nos. 1232, 1233 F1-F2 north wall of Corridor Boscotrecase, present-day near Vesuviusof slopes the on located Postumus, Agrippa of Villa so-called exurban the villa, of category another from panels landscape vignette large three the of reassemblage full a is segments wall black and white between Positioned in a hexagonally configured alcove series of delicately sketched landscape panels. the caryatids support a frieze zone featuring a along the banks. river’s In the White Corridor, in 1879 in the course of digging for flood controla luxurious Tiberside establishment discovered and Black Room C of Rome’s , 2) (fig. F Corridor White of panels sequential in the slender caryatid supports that articulate figuresimpossible appear Such existence.” of ing for what he calls “monstrosities incapable paint of vocabulary realistic the abandoning in painters and patrons present-day of taste from Vitruvius ( on a surface is marked by a polemical citation details articulated finely into flattens illusion stage of interior decoration wherein large-scale 15 a oc e a. 09 108, 7–6 n. I.13 no. 275–76, 180–85, 2009, al. et Rocca La De arch . 7.5.2), who censors the 15 which was was which 14 - -

 American Journal of Archaeology Online Museum Review cumvesuviana railroad. In its original setting, za, inv. no. 86075). peii, Scavi Archeologici, Depositi della Soprintenden City, Musei Vaticani, inv. no. 69631). tecturally complex Fourth Style that comprises Mau calledtheOrnamentalStyle. what of intricacies the viewers for lustrating il aptly aedicula, this patterns—frame floral of imitation Exquisitely slender columns—some painted in beyond the wall surface into undefined space. reach to seems hemicycle colonnaded a here, walls: Style Third of format two-dimensional rior prospects had begun to pierce the closed, exte into glimpses when transition of stage a our stylistic narrative, the painting represents lowest floor of the building. the on triclinium outdoor the from paintings garden and mosaics of complex salvage—the in drawing and execution with the best known coincide details its of some composition, this housed have would floor upper the on room rior staircases. Although a grandiose entrance inte by connected rooms labyrinthine its in visible are periods stylistic three from ings paint of examples now, Even walls. garden their at washed once waters whose the and gulf of view a enjoyed which wall, western the multistoried terraced houses at Pompeii’s Bracelet, Golden the of House the in belonged to the decoration of a spacious room Originally,painting damage. this earthquake dump, of because discarded likely plaster most were which a in found fragments from reassembled was it since interest, particular of is from Pompeii, of workrooms brought restoration the Style, Third the of example Renaisssance. Another the during found ings paint the of influential most and celebrated the in embodied is Augustan dates. Flavian and combining works of Augustan, Julio-Claudian, installation eclectic an into abruptly visitors decorated spatialsurrounding. fully a of approximation best exhibition’s the this coherent assemblage nonetheless presents been, have originally would chamber the as stallation is hexagonal rather than rectangular, currentin gulf. the Neapolitan Although the threeoverlooking of line a in roomstood this 17 16 Despite this transitional marker,transitional this Despite archithe moves sequence the of gallery final The La Rocca et al. 2009, 186–89, 276–77, no. I.14 (Pom La Rocca et al. 2009, 180–85, 280, no. II.1 (Vatican lornii Wedding Aldobrandini opus sectile, opus others with delicate delicate with others , 16 18 one of the most most the of one A key example in 19 17 one of one ------before 30 B.C.E. (Second Style, final phase). Rome, Rome, phase). final Style, (Second cm, 610 B.C.E. north x 30 182 and before cm 148 (Trastevere), x 182 F, Rome Corridor of gardens wall the Farnesina, from Villa the segments of fresco Roman 2. Fig. Museo Archeologico Nazionale, inv. no. 9008). 2007, 326–27. tions, asforathletictraining. conversa philosophical and lectures as such was as much a place for intellectual activities, cities ancient in which gymnasium, a of role Augusteum, might possibly have fulfilled the ing, which recent research has identified as an build the heroes, youthful of collocation this Given Raphael. of mastery stylistic the with authoritatively sculptural quality of its figures the of comparison exuberant discoverers’ the to owing project the of continuation the for credit given be might excavations, century 18th- of outset the to Olympus)—close and (Theseus, pieces companion its with Achilles, discovery—along whose painting, important poster icon for the exhibition (fig. 3). This is an Herculaneum at Basilica monumental Telephus panel from the so-called in this exhibition. Here, its chief presence is the decorations Pompeian might have surviving been given our more of space half than more Archeologici diRoma). le e Beni i Beni i per per Speciale Culturali–Soprintendenza Attività Ministero (courtesy inv. 1233 Massimo, 1232, nos. Palazzo Romano, Nazionale Museo 20 19 18 Jashemski 1993, 348–58; di Pasquale and Paolucci Mau 1902, 464–66. a oc e a. 09 201 n. I2 (Naples, II.2 no. 200–1, 2009, al. et Rocca La 20 that serves as the the as serves that - -

 American Journal of Archaeology Online Museum Review ples, Museo Archeologico Nazionale, inv. no. 9295). play in the current venue is welcome, however, Archaeological Museum of Naples. Their dis paintings in their usual housing in the National plays the experience of seeing these same wall through these reconstituted Roman rooms re walk struction in gallery 4. Thus, the visitor’s recon the enabled has ensemble decorative landscapes, Room Red Boscotrecase the by as exemplified practices, excavation 20th-century with sharply contrasts decontextualization This the collections of the Bourbon kings of Naples. for treasures producing on intent excavators contexts before their removal by 18th-century wall decorative such pieces to belonged The display on designs. wall Style Fourth and kinds of ornamentation characteristic of Third carried over by a summary explanation of the narrative chronological the find they matter, lery, which is devoted to mythological subject di Archeologici Napoli ePompei). Beni i per Speciale Soprintendenza Naples, Style). Museo (Fourth Archeologico Nazionale, inv. C.E. no. 9008 (courtesy 50–79 ca. cm, Herculaneum, 182 x 218 (Augusteum), Basilica so-called the from Telephus, and Hercules of fresco Roman 3. Fig. 24 23 22 21 As visitors enter the initial second-floor gal Cited in La Rocca et al. 2009, 288, no. II.13. La Rocca et al. 2009, 202, 204, 206. Supra n. 16. La Rocca et al. 2009, 216, 288–89, no. II.13 (NaII.13288–89,no.216,2009, al. etRocca La 21 the preservation of whose entire - - - - - devoted to provisions for the table—and land wall. Style Third a tually at the centers of black-colored panels in Winckelmann famously celebrated, black backgrounds, whose lightness and grace ornamentation. Four dancing maenads colorful against elaborate and perspective flattened their with schemes, wall Style Third within the three mythological panels had been framed ensembles component multi- such of design symmetrical the show catalogue the in reproduced schemes wall full of watercolors 19th-century The walls. picture-gallery so-called with room a of tion decora complex the up made that subjects of hierarchies the within positioned im were such ages how imagining in needed viewers aid acutely to most is contextualization for manyyearsbuildingrenovation. because the Naples galleries have been closed tiquarium Comunale, inv. no. 4478). Museo della Via Ostiense). the against study philosophical of pastime occupation) that paradoxically pits the nobler of definition a in them separates immediately it yet sphere, domestic the in life private and public of ity inseparabil the about text panel wall the in statement a with pictures three introduces culture alongmore traditionallines. cello, Viathe along nymphaeum Teatrodel Mar di C.E. image of Perseus and Andromeda from a intellect. with Athena stands ready to endow the inert figure doll-like figure representing humankind a while of creation his contemplating Prometheus the Via Ostiense, is an allegorical rendering of from a third-century C.E. funerary context on first, The selection. this complete lunettes in the aediculaeofFourthStylewalls. flanked commonly that panels side bordered elaborately the for centerpieces were 4), (fig. background red a against Venus bearing yr of aediculae. Floating figures, such as the Zeph the frieze zones bordering the upper portions scape vignettes were most commonly found in 26 25 In the case of mythological painting, painting, mythological of case the In h haig Oim pc” n alr 7 gallery in Space” “Otium heading The interpretations mythological later Two La Rocca et al. 2009, 291–92, no. II.18 (Rome, An La Rocca et al. 2009, 221, 291, no. II.17 (Rome,II.17 no. 291, 221, 2009, al. et Rocca La 26 attests the continuity of mythological of continuity the attests 25 otium The second, a fourth-century a second, The 24 Still-life images—largely Still-life (leisure or freedomfrom(leisureor 22 and thus reveal that reveal thus and 23 were ac ------

 American Journal of Archaeology Online Museum Review “bodily and spiritual pleasures” of the bed the of pleasures” spiritual and “bodily Museo Archeologico Nazionale, inv. no. 9068). Museo Archeologico Nazionale, inv. no. 9016). Museo Archeologico Nazionale, inv. no. 110569). tended by a large congregation outside a wall. hospitium at Moregine, depicting a sacrifice at a frieze excavated from the upper story of the novelty here is a virtually unknown portion of forumspace. the of decoration interestingAn the for and literacy citizen for both evidence colonnade, forum the in equestrian statues to attached notices reading ers Praedia Juliae Felicis that shows three bystand the from frieze forum the of segment the and stall distribution bread well-known the are tivities. Two examples from Pompeian civic life sampling of painted commercial and ritual ac secretive ceremony oftheBonaDea. mysteriously the especially company, male did involve both music and drinking without that calendar Roman the of rituals feminine exclusively many the forget not should one But Sappho. of poetry the to devoted circle a reflecting perhaps context, cultural Greek a within scene feminine exclusively the places stating that Roman women did not dine alone, world.” associations which look back to the Hellenistic of set different very a up conjure instead but relationship to actual Roman dining practices, babin proposes that they “have only a limited Discussing these better-known examples, Dun counterpart in the House of the Chaste Lovers. and female company, male which mixed in turn of has a scene close banquet a with paired was painting unknown virtually this that us hind the curtain. The catalogue entry informs be from curiously on look attendants slave and another plays the double pipes, while two wearing festive garlands. and populated by seated and reclining women curtains by shielded area dining outdoor an shows preservation, of state scrappy slightly its despite chosen brilliantly representation, banqueting The galleries. the through troop who children school elementary of numbers large the considering well, as just probably scene bedroom tive representa the That banquet. the and room 30 29 28 27 The room devoted to daily life presents a presents life daily to devoted room The Dunbabin 2003, 52. La Rocca et al. 2009, 232, 296, no. IV.4no.296, 232,2009, (Naples, al. et Rocca La IV.2no.295, 230,2009, (Naples, al. et Rocca La IV.1no.294, 229,2009, (Naples, al. et Rocca La 29 Likewise, the catalogue description, 27 is only mildly erotic is erotic mildly only is 28 One pours perfume 31 providing providing 30 32 ------

iana. The steersman, Farnaces, and the owner, ship, identified by inscription as thecargo Isiswooden small Gimin a of loading the depicts cm, ca. 54–68 C.E. (Neronian, Fourth Style). Naples, Museo Naples, Archeologico Nazionale, inv. Style). no. 8830 (courtesy Fourth (Neronian, C.E. 54–68 ca. cm, 6.0 x 67.5 x 73.0 Pompeii, Naviglio, del Casa the from Venus, and Zephyr of fragment fresco Roman 4. Fig. City, Musei Vaticani, inv. no. 79638). inv. no. 8193). Soprintendenza, della DepositiArcheologici, Scavi Museo Archeologico Nazionale, inv. no. 9071). Viathe necropolisof tian Laurentina, Os the from recovered panel white-ground the ownerofinn. for meaning particular has that dedication a Perhaps, as the catalogue entry proposes, it is significance. portends ceremony this or army, body citizen the of purifications as such mally connected with performances high-profile the to ram—belong a and cow), a (probably bovine sow,a offered—a being animals the Because purple the of stripes bordering their white tunics widths and togas. differentiated the in gestures, and the evidence of social hierarchy spectators, the vivacity of their hand and arm the of crowding disorderly authenticity—the Aspects of this lively scene intimate journalistic di Archeologici Napoli ePompei). Beni i per Speciale Soprintendenza 33 32 31 From the Vaticansmall the Froma comes Museums La Rocca et al. 2009, 233, 296–97, no. IV.3 (Naples, La Rocca et. al. 2009, 234, 298, no. IV.6 (Pompeii, La Rocca et al. 2009, 237, 300, no. IV.9no. 300,(Vatican237, 2009, al. et Rocca La suovetaurilia , which is nor is which , pro populo 33 which - - -

 American Journal of Archaeology Online Museum Review Abscantius, are also identified. A measuring A identified. also are Abscantius, VI.15; see 256, 308, no. VI.14 (Zurich, Archäologische Museo Archeologico Nazionale, inv. no. 9058). Museo Archeologico Nazionale, inv. no. 124666). domestic context. a within presence personal of intimacy the of revealingly so quite speaks scene banquet or bedroom No portraits. mummy life-sized the of those rival contours facial whose of titude an elderly gentleman, an unknown third-century context and depicts earlier comes from Pompeii, the customs: representational in continuity of instance striking a present centuries three by separated faces masculine Two leaf. gold with overlaid some glass, on painted traits por miniature of genre less-publicized the by exhibition the in complemented are faces Rome. with connection cultural their to witness bear thus of contemporaneous sculpted portraiture and (fig. 5), whose changing hair styles reflect those the mid first century through the third century examples ranging from the Neronian of period sequence of a in represented are techniques tempera and encaustic Both erednaturalistic. consid be indeed can faces haunted-looking slightly beautiful, these naturalistic representation—if through individuality of ness aware Graeco-Roman with mummification Egyptian of hybridization cultural the attest proximity with so-called Fayum portraits that wife his and TerentiusNero tablinum pavement domestic a from woman mature Pompeian well-adorned, a of portrait well-known mosaic faces—the Two highlights. exhibition’s the among are locations, techniques, and times, of variety a representing pride intheiroccupations. the economic to function of Ostia testimony and its as inhabitants’ work this complement Measurers Grain the of Hall Ostia’s of mosaic black-and-white second-century the in workers grain of lineup the resemble ages person these postures, rigid and clothing cal cargo sacks contain grain. With their hierarchi device held by a young slave indicates that the 37 36 35 34 The two galleries devoted to portraiture, portraiture, to devoted galleries two The Clarke 1979, 43–4, figs. 53, 54. La Rocca et al. 2009, 255, 303, no. VI.2 (Naples,VI.2no.303,2009,255, al. Roccaet La (Naples,VI.1no.302,2009,254, al. Roccaet La a oc e a. 09 265, 0–, o. VI.4, nos. 304–8, 246–57, 2009, al. et Rocca La 35 and that Pompeian poster couple, 37 But these large and semipublic and large these But 39 the plasticity and exac 38 36 the later is from —are shown in shown —are 34 and ------cenate,” inv. no. 14973). Me Cilnio “Gaio Nazionale Archeologico Museo Museo Archeologico Nazionale, inv. no. 132424). Sammlung der Universität, inv. no. 3801) for fig. 5. antiq late and theatricality, landscape, life, daily as topics such on explorations thematic dimensions of the exhibition with genre-based conceptual the expands scholars additional six and curators, fellow his Rocca, La by says es 10 of collection the volume, the of section first the up Making content. interpretive and informational its in and visually both itself, real blockbuster, and it the quite outdoes is the show catalogue exhibition monumental the Archäologische SammlungderUniversitätZurich). courtesy Hertig; (S. 3801 no. inv. Zurich, Universität ca. 210–240 C.E. Zurich, Archäologische Sammlung der frompanel, cm, wooden 17 er-Rubayat,on x 31 Egypt, Fig. 5. Roman mummy portrait of a woman in tempera 39 38 As has become customary in recent years, recent in customary become has As La Rocca et al. 2009, 258, 309, no. VI.16 (Arezzo, La Rocca et al. 2009, 245, 303, no. VI.3 (Naples,VI.3no.303,2009,245, al. Roccaet La - - -  American Journal of Archaeology Online Museum Review uity. All essays are well illustrated with com uity.with illustrated well are essays All [email protected] bloomington, indiana indiana department ofclassical the break Vesuvius help barrier. likewise will that ventures precedent for more and even farther-reaching a set will it that hope and both time and in territory painting Roman with contacts our appreciate the curators’ purpose of extending unknown or overlooked. One must especially either are that others few a introduced and some familiar items out of recent sequestration its urges it viewers to learn what and take away. in It has brought more even but objects its of variety and number the in simply not the volume. complete bibliography and timeline A tion. sugges interpretive and information factual detailed with packed are raisonné catalogue the Third and Fourth Styles. The 48 pages of of theillustrations clearest the provide these and contexts of several mythological compositions, teenth-century watercolors show the full wall as we have always seen them in Naples. the individual panels are separately presented, although missing, is Room Red reassembled magnifications of significant details. Only the as well as exhibition, the in picture every of contains generously sized color reproductions section 92-page A show. the of contents the paranda in color photographs that supplement 40 This is an exhibition with ambitious aims, ambitious with exhibition an is This La Rocca et al. 2009, 180–89. university 47405 studies 40 Nine - - -

Nava, M.L., R. Paris, and R. Friggeri, ed. 2007. Mau, A. 1902. 2009. E. Rocca, La Laidlaw, A. 1985. Jashemski, W.F. 1993. Guzzo, P.G., ed. 2003. 2003. K.M. Dunbabin, di Pasquale, G., and F. Paolucci, eds. 2007. Clarke, J.R. 1979. Bergman, B. 2006. “Final Hours: Victims of Vesuvius Scagliarini-Corlaità, D. 1974–1976. “Spazio e decora F.W. Kelsey. NewRochelle,N.Y Electa. saggionella cultura artictica greca romanae and Painting 2. NewRochelle,N.Y Vesuviusby VillasDestroyed the and laneum colano, Oplontis. Guida alla mostra Press. Conviviality. Livorno: Sillabe. natura e arte Scienza, Roma: a Babilonia da antico ics and TheirPossessions.” 3–44. pompeiana.” pittura nella zione and Electa. del Museo di Napoli e a Pompei. collezioni nelle pittorica decorazione La Pompeiano: . New Y ork: New Pompeii: Its Life and Art New New . Rome:L’Erma diBretschneider. Roman Black and White Figural Mosa The First Style in Pompei: Architecture Works Cited Lo spazio negate: La pittura di pae di pittura La negate:spazio Lo Storie da un’eruzione: Pompei, Er The Gardens of Pompeii, Hercu Y The Roman Banquet: Images of Images Banquet: Roman The ork: Cambridge University University Cambridge ork: Y .: Caratzas. ork UniversityPress. AJA 110(3):493–501. Milan: Mondadori .: Caratzas. . Milan: Electa. . Translated by Palladio Il giardino . Milan:. 23–25: Rosso . Vol.. - - - - - .