LC CLASSICS, ART & ARCHITECTURE notes to Roman Wall Paintings
How were they made?
Vitruvius and Pliny wrote about how Roman painters painted walls. Unlike the Greeks, who tended to paint on
prepared panels that they later fixed to the walls, the Romans tended to paint directly onto the drying plaster.
Walls were faced in concrete first and then 3 or more layers of plaster were laid on top. The plaster was made of lime
mortar (lime, sand and water) mixed with marble dust, which makes a very hard wearing kind of plaster called
STUCCO.
The Roman painters then painted pigments onto the drying stucco, so that the colour dried into the wall. This method is
known as buon fresco and is extremely difficult.
Stucco usually takes about 10-12 hours to dry and painting begins one hour into the drying process and ends with 2
hours to spare which leaves 7-9 hours working time. Any mistakes made had to be chipped off the next day. Then the
surface had to be repaired and painting began again.
Later they often coated the finished painting with a layer of tempera (egg yolk) and beeswax, which dried into a
varnish. This protected the painting and also gave it a gloss.
What were they used for?
Roman houses were generally made of and followed a very simple architectural plan. In general the Romans lived at
ground level (though the poorer classes lived in tenement blocks) so for privacy windows tended to be small. Large
windows require lintels too, which complicated the design of the house. The rooms therefore were dark and
claustrophobic and a good Roman house was very sparse. There wasn’t much furniture or extras. Wall paintings were
used therefore for three main reasons.
1. To make the room seem brighter.
2. To make the room feel bigger.
3. To show off – make the homeowners seem wealthier than they were.
Where were they found?
The raison d’etre of a wall painting is for it to be seen. Except in the case of lavish mansions and palaces, the Romans
generally decorated the more public rooms of their houses.
The main room of a Roman house was the atrium, which served as a kind of hall. It was usually square in plan and
open in the centre. There was a small pool in the centre to collect the rainwater. Apart from that the atrium was plain
and sparse but wall paintings were painted on the surrounding walls and sometimes they featured mosaic floors.
The triclinium was the dining room/sitting room where the Romans reclined on couches set in a square and were
served food by slaves in the centre. The walls of triclinia were usually decorated with wall paintings and the floor with
mosaics.
In the more luxurious villas and palaces other rooms would be decorated but in general the best paintings were to be
found in the atrium and triclinium, where guests would see them.
Sometimes vaulted cellars were also decorated with wall paintings; obviously to make them seem more inviting and
less dank. The Garden of Livia, for example, comes from a vaulted cellar in the Augustan House of Livia, in Prima
Porta: a suburb of Rome.
Where do they come from?
Over the centuries the once beautiful Roman houses were demolished, ruined or vandalized, so very few examples
survived. Thankfully the eruption of Mt. Vesuvius in AD79 preserved the interiors of the Roman houses in the region
of Campania, near modern Naples. Most of the surviving Roman wall paintings therefore come from the archaeological
sites in the vicinity of Mt. Vesuvius: Pompeii, Herculaneum and Stabiae. Other examples do however survive due to
special circumstances. The Garden of Livia for example came from a wall in a vaulted subterranean cellar, which
remained intact though the upper stories of the House of Livia were ruined. The same is true of the wall paintings from
the vaulted corridors of Nero’s Golden House in Rome or the House of the Painted Vault in Ostia.
LC CLASSICS, ART & ARCHITECTURE notes to Roman Wall Paintings
How old are they?
The Roman wall paintings on your course all fall into 4 rough styles of painting. Since most of the surviving paintings
come from Pompeii, these styles are called the 4 Pompeian styles but it is important to note that even paintings from
elsewhere fall under these styles too.
The Pompeian styles present us with a rough means of dating the paintings.
1st style = c.150-c.80BC
2nd style = c.80BC – c.20BC
3rd style = c.20BC – earthquake of AD62
4th style = after AD62 earthquake to eruption of Vesuvius AD79 (final destruction of Pompeii)
Exception: the House of the Painted Vault in Ostia. You can say this room dates to the late
1st century AD because it is painted in the 4th style but Ostia isn’t near Vesuvius.
How do you tell the styles apart?
1st Pompeian style c.150 – c.80BC
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Sometimes called the encrustation style
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Panels painted to imitate expensive marble or stone panels - Trompe d’oeil effect (trick of the eye)
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Walls looked like the lavish interiors of temples, basilicas and baths
[There are no 1st style examples in Wheeler]
2nd Pompeian style c.80BC – c.20BC
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Sometime called the architectural style
Painted architecture (porticos, arches, doorways, windows ) breaks the wall into zones
Zones often feature pictorial scenes: narratives or still-life
Trompe d’oeil continues in smaller panels
Subtle use of colour and shading creates illusion of spacial extension or perspective
Wall treated as a window onto another world outside, just out of reach but there!
3rd Pompeian style c.20BC – AD62 earthquake (covers the Age of Augustus)
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Sometimes called the ornamental style
Walls treated as blank canvasses
Large central pieces supported by smaller panels or vignettes (also used for pictorial scenes)
Often a monochrome (one colour) background helps to emphasize the scene
Architecture replaced by a sacro-idyllic landscape
Impressionism and Romanticism
4th Pompeian style AD62 – AD79
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Rejection of 3rd style blank canvas
Return of 2nd style architecture
Retention of 3rd style surreal landscape
Appearance of stage scenery
Fantastically Baroque (almost Edwardian)
LC CLASSICS, ART & ARCHITECTURE notes to Roman Wall Paintings
Ordinary Level Exam Question 1996-2009
2009: Garden of Livia, House of Livia, Prima Porta, Rome
(iv) Photograph G on Paper X shows the painting known as the Garden of Livia.
(a) Where would such paintings be found in a Roman house? (10)
(b) Give a description of this painting. (25)
(c) Comment on the use of the different colours in this painting. (15)
2008: ‘Achilles revealed by Ulysses in Scyros’, House of the Dioscuri, Pompeii
(iv) Photograph I on Paper X shows a wall-painting from Pompeii.
(a) Describe what is happening in the painting, and name the three principal figures involved. (25)
(b) Comment on the portrayal of the face of the white figure on the left. (15)
(c) What purpose was served by Roman wall-paintings? (10)
2007: Theatre scene, Herculaeneum
(i) Photograph E on Paper X shows a wall-painting from Herculaneum.
(a) Give a description of the painting. (30)
(b) Comment on the artist’s use of colour. (10)
(c) What function did Roman wall-paintings serve? (10)
2006: Garden of Livia, House of Livia, Prima Porta, Rome
(i) Photograph F on Paper X shows a famous wall-painting.
(a) What name is given to this wall-painting? (10)
(b) In your opinion, why were wall-paintings so popular in Roman houses? (10)
(c) Give a description of this painting. (30)
2005: Alexander mosaic, House of the Fuan, Pompeii
(iv) (a) Name the two main characters shown in the mosaic in Photograph H on Paper X. (10)
(b) How were mosaics made? (15)
(c) How has the artist succeeded in making this scene dramatic and emotional? (25)
2004: Achilles revealed by Ulysses in Scyros, House of the Dioscuri, Pompeii
(i) Study Photograph E on Paper X and answer the following questions.
(a) Identify the two central figures in this painting and explain what story is being shown. (20)
(b) Comment on the use of colour in this painting. (20)
(c) In a Roman house, where would such paintings be found? (10)
2003: Theatre scene, Herculaeneum
(ii) Photograph G on Paper X shows a wall-painting from Herculaneum.
(a) Why did the Romans have such paintings on the walls of their rooms? (20)
(b) Explain why Wheeler sees the influence of the theatre in this painting. (30)
2002: Trojan Horse scene, Pompeii ???
(ii) Study the painting shown in Photograph F on Paper X
(a) What famous incident is shown in this painting?
(b) Give a description of the painting
(c) Comment on the use of colour in this painting.
LC CLASSICS, ART & ARCHITECTURE notes to Roman Wall Paintings
2001: Garden of Livia, House of Livia, Prima Port, Rome
(iv) (a) Identify the painting in Photograph I on Paper X. (10)
(b) In Roman houses, where would you find such paintings? (10)
(c) Comment on the use of colour in this painting. (15)
(d) In this painting, how has the artist achieved a sense of distance and depth? (15)
2000: Alexander mosaic, House of the Faun, Pompeii
(iii) (a) What historical event is shown in Photograph G on Paper X? (10)
(b) Identify clearly the central figure in the chariot, and the man on horseback near the tree. (20)
(c) How has the artist conveyed the tumult of battle and the dramatic confrontation of the two men? (20)
1999: Achilles revealed by Ulysses in Scyros, House of the Dioscuri, Pompeii
Look at Photograph H on Paper X
(a) What event is shown on the wall painting?
(b) What do find striking about the picture?
1998: GENERAL QUESTION
(iv) (a) From your study of painting give an indication of the range of subjects covered by
the painters
(b) Which type of subject do you prefer? Give reasons for your answer.
1997: Theatre scene, Herculaneum
(iv) (a) To which style of Roman pianting does Photograph G on Paper X belong?
(b) What are the most noatable features of this style as shown in this painting?
1996: Trojan Horse scene, Pompeii
(iv) (a) What is the subject of the painting in Illustration H on Paper X?
(b) How has the artist given energy and life to his painting?
(c) Mention one other subject to be found on the wall paintings of Pompeii.
LC CLASSICS, ART & ARCHITECTURE notes to Roman Wall Paintings
HIGHER LEVEL EXAM QUESTIONS 1996-2009
1996: Villa of Mytseries, Pompeii
1997: Achilles revealed by Ulysses in Scyros, House of the Dioscuri, Pompeii
1998: Alexander mosiac, House of the Faun, Pompeii
(i)
Study Illustration D on Paper X
(a) What event is shown here?
(b) Briefly explain the technique of the mosaicist
(c) How has the artist succeeded in making the scene so lively and dramatic?
1999: Garden of Livia, House of Livia, Prima Porta, Rome
(iii) (a) Identify the wall painting in Photograph H on Paper X
(b) Comment on the use of colour in this painting.
(c) How has the artist created an illusion of depth?
(d) What are the main themes in Roman landscape paintings?
2000: Harbour, Stabiae and Theatre scene, Herculaneum
(iv) Photographs J and K on Paper X show two examples of wall-paintings from the Pompeii region.
(a) To which of the Pompeian styles does J belong, and to which does K belong? (10)
(b) Give a detailed description and appreciation of each of these paintings. (40)
2001: Trojan Horse scene, Pompeii
(i) Study Photograph F on Paper X.
(a) What event is shown in this painting? (5)
(b) Write a description of the painting. (15)
(d) ‘The crowded scene is little more than a sketch, but it vividly displays the episode.’
(Wheeler). Comment on this remark. (30)
2002: TWO still life scenes from House of Julia Felix, Pompeii
LC CLASSICS, ART & ARCHITECTURE notes to Roman Wall Paintings
2003: Theatre scene, Herculaneum
(ii) Photograph H on Paper X shows a painting from Herculaneum.
(a) To which style of Pompeian painting does this painting belong? (5)
(b) Why would the Romans have painted such pictures on the walls of rooms? (10)
(c) Comment on Wheeler’s statement: “The fantastically elaborate architectural decoration is probably
derived from the theatre.” (25)
(d) Comment on the artist’s handling of perspective in this painting. (10)
2004: Alexander mosaic, House of the Faun, Pompeii
(ii) (a) Identify the event shown in Photograph F on Paper X and name the two main characters. (10)
(b) .The tumultuous battle-scene is certainly rendered with a vivid sense of drama and a genuine
attempt to distinguish the personalities involved.. (Wheeler, Roman Art and Architecture)
Discuss this comment by Wheeler. (30)
(c) Write a brief note on the technique of mosaic. (10)
2005: Achilles revealed by Ulysses in Scyros, House of the Disocuri, Pompeii
(iv) Photograph J on Paper X shows Achilles and Odysseus from a painting in Pompeii.
(a) What event is being shown here? (10)
(b) Comment on the portrayal of the face of Achilles. (15)
(c) How has the painter conveyed the action and the drama of the scene? (15)
(d) Comment on the use of colour. (10)
2006: Garden of Livia, House of Livia, Prima Porta, Rome
(iii) (a) Identify the painting shown in Photograph H on Paper X. (5)
(b) Why were paintings such as these painted on the walls of Roman houses? (10)
(c) In your opinion, is Wheeler justified in calling this painting “a masterpiece”? (35)
2007: Theatre scene, Herculaneum
(iv) Photograph I on Paper X shows a wall-painting from Herculaneum.
(a) To which style of Roman wall-painting does this picture belong? (5)
(b) What features of this painting are typical of this style? (35)
(c) What features of this painting show the influence of the theatre? (10)
2008: Trojan Horse scene, Pompeii
(iv) Photograph I on Paper X shows a wall-painting from Pompeii.
(a) Write a description of this painting. (25)
(b) Discuss Wheeler’s view that “the crowded scene is little more than a sketch, but it vividly displays the
episode.” (25)
2009: Alexander mosaic, House of the Faun, Pompeii
(iv) Study Photograph I on Paper X.
(a) What event is shown in this mosaic? (5)
(b) Comment on Wheeler’s statement: “The tumultuous battle scene is certainly rendered with
a vivid sense of drama and a genuine attempt to distinguish the personalities involved.” (30)
(c) Briefly explain how mosaics were made. (15)
LC CLASSICS, ART & ARCHITECTURE notes to Roman Wall Paintings
“Hunters fresco”
from the ‘Hunting Baths’ of Lepcis Magna
Date: 3rd century AD
Wheeler p.58, il.38
“Riots in the Pompeian amphitheatre”
from Pompeii
Date: AD59 – 79
Wheeler p.119, il.96
“House of the painted vault”
from Ostia
Date: Augustan - 27BC-AD14
Wheeler p.132, il.114
“Country House medallion”
from Pompeii
Date: before AD79
Wheeler p.136, il.118
“House of Lucretius Fronto”
from Pompeii
Date: before AD79
Wheeler p.143, il.126
“Villa of Mysteries”
from Pompeii
Date: 1st century BC
Wheeler p.145, il.128
“Domestic huts”
from Pompeii
Date: before AD79
Wheeler p.184,il.163
“Country villa”
from Pompeii
Date: before AD79
Wheeler p.184, il.164
“Country villa”
from Pompeii
Date: before AD79
Wheeler p.184, il.165
“Garden of Livia”
from Prima Porta, Rome
Date: Augustan - 27BC-AD14
Wheeler p.185, il.166
“False Window in Nero’s Domus Aurea”
from Rome
Date: AD65
Wheeler p.187, il.167
LC CLASSICS, ART & ARCHITECTURE notes to Roman Wall Paintings
“Vaulted corridor in Nero’s Domus Aurea”
from Rome
Date: AD65
Wheeler p.187, il.168
“House of the Dioscuri”
from Pompeii
Date: before AD79
Wheeler p.194, il.179
“Trojan Horse scene”
from Pompeii
Date: before AD79
Wheeler p.195, il.180
“Dionysus with maidens”
from Herculaneum
Date: before AD79
Wheeler p.195, il.181
“Villa of Agrippa Postumus”
from a site close to Pompeii
Date: before AD79
Wheeler p.197, il.182
“Houses at noon”
from Pompeii
Date: before AD79
Wheeler p.197, il.183
“Pastoral scene”
from Pompeii
Date: before AD79
Wheeler p.184, il.184
“Harbour from Stabiae”
from Stabiae near Pompeii
Date: before AD79
Wheeler p.199, il.185