Pompeian Wall Painting
First Style
The First Pompeian style, or
“Structural Style" c.150 – 50 BCE,
was a common form of house décor
and was quite simple. It consisted
mainly of imitations of colored
stone and marble veneering done in
stucco and paint. A good example
of this First Pompeian style is found
at the House of Sallust in Pompeii.
While much of the paint has faded,
the stucco “blocks” can be seen and
one gets a real feeling of what the
overall effect might have been like.
Another example of this early
type is found at the Samnite
house, c.100 BCE, at
Herculaneum. The inner peristyle
at the Getty Museum, which was
inspired by the Villa de Papyri,
outside of Pompeii, also is done in
the 1st Pompeian style. Typically,
the wall was divided into three
horizontal, painted zones
crowned with a stucco cornice of
dentils based upon the Doric
architectural order.
A recreation of the First Style from the Getty
Museum.
Another view of the Samnite House.
Modern drawing of the First Style
The Second Style
The aim of the Second
Style or “Architectural
Style” painters was to
dissolve the confining
walls of a room and
replace them with the
illusion of a threedimensional world
constructed in the
artist's imagination.
They sought to create
the illusion of space by
using the technical skill
of “perspective.”
What is meant by perspective?
The most characteristic feature of perspective
drawing is that objects are drawn smaller as
their distance from the observer increases. In
order to accomplish this, the artist establishes
a “vanishing point.” This is a point in a
perspective drawing to which parallel lines
appear to converge.
The complexity of perspective is determined
by the number of “vanishing points”
employed by the artist. In the first example,
there is one vanishing point. In the second,
there are two sets of apparently convergent
lines. In the final example, three sets of
parallel lines move away from the view.
A Second Style Vista
Perspective was
used by painters
to transform the
usually
windowless walls
of Roman houses
into "picture
window" vistas
that expanded
the apparent
space of the
rooms.
A Second Style Vista
One of the chief features
of the Second Style is the
introduction of painted
architectural features, for
example here there are
columns, entablature, and
pediment. This particular
example also incorporates
elements of the First Style.
We can see the molded
“blocks” in red above and
maroon below.
A Second Style Vista
A Second Style Vista
A Second Style Vista
In the mature phase of the Second Style, depictions of
gardens became popular.
In the final phase of the Second Style the human
figure was introduced.
This famous Second Style painting depicts the initiation of a young
woman into the mystery religion of Dionysus, prior to her marriage.
It is located in Pompeii in the so-called Villa of the Mysteries
The action of the rite begins with the initiate crossing the threshold as the preparations
begin. Her wrist is cocked against her hip. A priestess holds a scroll. The initiate, now more
lightly clad, carries an offering tray of sacramental cake. She wears a myrtle wreath. In her
right hand she holds a laurel sprig.
A priestess wearing a head covering and a wreath of myrtle removes a covering
from a ceremonial basket held by a female attendant. A second female
attendant wearing a wreath, pours purifying water into a basin in which the
priestess is about to dip a sprig of laurel. Mythological characters and music are
introduced into the narrative. An aging Silenus plays a ten-string lyre resting on a
column.
A young male satyr plays pan pipes, while a nymph feeds a goat. The initiate is
being made aware of her close connection with nature. In many rituals, this
regression, assisted by music, is requisite to achieving a psychological state
necessary for rebirth and regeneration. The startled initiate has a glimpse of
what awaits her in the inner sanctuary. This is her last chance to save herself by
running away. Perhaps some initiates did just that.
The Silenus looks disapprovingly at the startled
initiate as he holds up an empty silver bowl. A
young satyr gazes into the bowl, as if mesmerized.
Another young satyr holds a theatrical mask
resembling the Silenus.
This scene is at the center of both the room and the
ritual. Dionysus sprawls in the arms of his mother
Semele. Semele sits on a throne with Dionysus leaning
on her. Semele, the great mother is supreme.
A winged divinity, Aidos, who represents modesty, is prepared to strike with a
whip. The initiate is consoled by an older woman. To the right a second woman
clashes cymbals celebrating the end of the rite and another woman is about to
give to the initiate a thyrsus, symbolizing the successful completion of the rite.
This scene represents
an event after the
completion of the
ritual drama. The
transformed initiate
prepares, with the
help of an attendant,
for marriage. An Eros
figure holds a mirror
which reflects the
image of the bride.
Both the bride and
her reflected image
stare out at us, the
observers.
The initiate now is depicted as a
calm and mature married woman.
Eros, a son of Chronos or Saturn, god of
Love, is the final figure in the narrative.
The Third Style
The Third Style (ca. 20 B.C.– 20 A.D.),
which coincided with the reign of the
first emperor, Augustus, rejected the
elaborate experiments in perspective,
color, and theme of the Second Style.
Wall paintings from this period typically
comprise a single monochrome
background—such as red, black, or
white—with delicate architectural
details. Small figural and landscape
scenes appear in the center of the wall
as a part of, not the dominant element
in, the overall decorative scheme.
Detail from a Third Style painting, taken from an imperial residence.
.
Detail from a Third Style painting, taken from an imperial residence.
Detail from a Third Style painting, taken from an imperial residence.
Third Style
Third Style
The Fourth Style
The Fourth Style, also
called the "Intricate
Style," confines full
three-dimensional
illusion to "framed
images," which are
placed like pictures in
an exhibition. The
images themselves do
not relate to one
another nor do they
present a narrative, as
in the Second Style.
A typical example of the fourth style,
which creates a gallery effect.
Detail from a Fourth Style “Gallery”
Fourth Style from the Domus Aureus, or Golden House, of Nero
Fourth Style with large central painting, depicting Dionysus’ revelation
that he is a god.
Detail of the theophany of Dionysus
Reconstruction of the exterior of a typical Roman domus
Interior reconstruction. Light only enters through the
compluvium. The lack of natural light through out the
house and the relatively small size of the various rooms
are contributing factors to the Roman taste for bright
colors and trompe l’oeil effects.
Identify the style of this wall painting:
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