Class Flashcards
Key fact: Atrium in the House of the Silver Wedding
the silver wedding
mid 1st century BC, Pompeii
Object: Atium in the House of the Silver Wedding
Scale: very large, regal finction
Context: home of wealthy resident, buried by eruption of Vesuvius - name is contemporary to excavation not what it depicts
To NE and SW of atrium - cubicula, tablinum decorated in 4th style - opens to atrium, combination of Rhodian peristyle and fourth style with black panels - columns are fluted - yellow, other columns hexagonal in red and white
Subject: atrium of the house of the silver wedding
form and architecture:
4 corinthian columns support the roof and ornamneted exedra
2 gardens, one seen from atrium, sunlight of atrium would have been fitted with a veil
attributes: finished in a grand style, adorned with paintings , architecture is classical, columns are tufa, stuccoed over the lower portion and painted in red and white
Style: atrium of the house of the silver wedding
technique: 4th style in lower frieze, 2nd style in upper areas - black panel has small pictures of swan or landscape
date: house built in 300BC, renovated 1st century AD
Comparanda: atrium of the house of the silver wedding
1) Atrium of Huse of Lecretius Fronto (1st Century AD) - early empire decor, no colums, more modest
2) Atrium decoration ast Villa of Oplontis - second swtyle - extremely ornate
3) Plan of Villa of Mysteries (c.50 BC) - examples of peristyle in atrium
Define peristyle
a row of columns surrounding a space within a building such as a court or internal garden or edging a veranda or porch
Significance: atrium if the house of the silver wedding
relatively typical tetrastyle atrium - fine quality
atrium mentioned in Juvenal - clients rush to get money from patron
atrium was where clients waited to see patrons for salutatio
room of socio-political significance, more public area of the house - tension of wealth being displayed necessarily and aversion to luxury - upperclass house
Key facts: Herm portrait in House of Caecilius Lucundus
‘To the genius of our Lucius/ Felix (his) freedman (set this up)’
Marble herm portrait of Lucius Caecilius Lucundus’ father in his house, Pompeii, 1st Century AD
Object: Herm portrait in House of Caecilius Lucundus
Material: marble and bronze scale - short marble column
Function: Dedicated by freedman Felix to the genius of Lucius - inscription on small pilaster
Context: Caecilius was a banker - lived in Pompeii around 20-60 AD, house partially destroyed by Vesuvius - born to freedman banker, became well established
Subject: Herm portrait in House of Caecilius Lucundus
iconography depicts an ancestor
features: protuding ears, large wart, wrinkes in forehead and sides of his nose- clearly an older man with sunken eyes - which would have initially be inlaid with another material, such as class genitals attached to herm, small
hairstyles: Caecilius has thin, fine hair, receding hairline, wavy but flat
attributes: combination of cultural form of hellenistic hern and exaggerated personal identity. common portrait format- realistic rather than idealised (veristic) but also in a sense ideological idealised
Style: Herm portrait in House of Caecilius Lucundus
date: Augustan period
place: outside tablinium
restoration: herm reattached
Comparanda: Herm portrait in House of Caecilius Lucundus
1) Fresco portraits in the House of Terentius Neo (Mid 1st century AD), attempt at realism with interesting proportions
2) Freedman portrait reliefs on tombs of the early 1st century AD - Aedius Amphio and Aedia Fausta Melior - man depicted elderly and realistc, wife portrayed idealistically and younger
3) Atrium of house of the silver wedding - location for bust
Significance: Herm portrait in House of Caecilius Lucundus
Striking portrait due to realism - not necessarily typical
Idealism of the older, wiser man in texts (Cicero appeal to ancestors)
symbol of success and integration into Roman society - cultural integration
Key facts: Atrium of the House of Marcus Lucretius Fronto (tablinum wallpainting)
atrium, c.30 AD, Pompeii
Object: Atrium of the House of Marcus Lucretius Fronto (tablinum wallpainting)
atrium - entrance and waiting room for guests
Mosaic floor, plastered and painted walls - small scale
contect: Marcus Lucretius Fronto was a wealthy figure in Pomperii - local office holder - atrium is relatively modest and the house is small
Subject: Atrium of the House of Marcus Lucretius Fronto (tablinum wallpainting)
Architectural form: No columns, just an impluvium. Plain frescoes. Floor is mosaic in black and white - black wall panels are seperated by yellow decorative bands above a lower dark red frieze - panels contain small, simple hunting scenes, well detailed.
The upper zone consists of geometric and architectural motifs on the black ground
Define impluvium
the square basin in the centre of the atrium of an ancient Roman house, which received rainwater from an opening in the roof.
Style: Atrium of the House of Marcus Lucretius Fronto (tablinum wallpainting)
Technique: New-style decor of the early empire. The paintings are in the late third and fourth style - the atrium is decorated in the fourth style
Before 62 AD - probably c.30 AD in Pompeii - badly damaged at the top and bottom
Comparanda: Atrium of the House of Marcus Lucretius Fronto (tablinum wallpainting)
1) Atrium of the house of the silver wedding - mid 1st century - much larger tetra-style and larger impluvium - more overtly wealthy
2) Fresco in atrium of the Villa of Oplontis (1st Century BC) - ornate and richer
3) Tablinum frescoes of the same house - far more elaborate - shows the greater importance of this room to the owner - need to impress clients is possibly lower
Significance: Atrium of the House of Marcus Lucretius Fronto (tablinum wallpainting)
Atrium was the entrance, androom used for the salutatio where the patron greets his clients
Link with Juvenal: clients rushing for money from patron
Key facts: H. Vettii, Theban and Ixion rooms - Tablinum fresco of the House of Marcus Lucretius Fronto
Tablinum fresco - c.30 AD, Pompeii
Painted onto plaster (stucco) - covers entire wall (decorative)
Marcus Lucretius Fronto wealthy Pompeian society figure, local office holder- though atrium is relatively modest - the tablinum wall paintings are elaborate
attempts to moderate private luxury and spending constantly failing but public figures often felt the need to both exhibit their success as well as moderate their luxury - contradiction exemplified in this house (demonstrate class to his peers, preach moderation to his clients)
Subject: H. Vettii, Theban and Ixion rooms - Tablinum fresco of the House of Marcus Lucretius Fronto
Architectural form: Two side walls of tablinum richly decorated in late third style. Black and red panels separated by columns with architecture above a lower black decorative frieze
Central red panel depicts mythological scene
south wall depicts marriage of Mars and Venus
North wall (not pictured), showed triumph of Bacchus
Flanking black panels contain architectural landscapes (villa/waterfront set on decorative stands)
Separating columns decorated with ropes of fruit and flowers
Upper zone in red, yellow and black features architecture accompanied by decorative panels featuring cups, tripods, statues of griffins and panel of fish
Around the two tablinum walls are painted animals . A garden is depicted on the lowest frieze with fence
ICONOGRAPHY: In the central frieze of the marriage of Mars and Venus, a dark-skinned Mars stands, helmeted and with
one shoulder exposed, behind seated Venus, dressed like a Roman matron in a yellow tunic and a lilac mantle. A
small naked winged Cupid stands in the centre of the frieze, holding his bow, looking at Venus.
Style: H. Vettii, Theban and Ixion rooms - Tablinum fresco of the House of Marcus Lucretius Fronto
Technique: New-style decor of early empire (third style) - egyptianising style, early-empire to earthquake - rich colour palette (red, blacks, yellow, white, brown)
Date: c.30 BC (Pompeii)
Comparanda: H. Vettii, Theban and Ixion rooms - Tablinum fresco of the House of Marcus Lucretius Fronto
1) Atrium of the same house - less decorative, slightly different time period of decoration
2) Fresco decoration in the triclinium of the Villa of Oplontis, (1st Century BC) - extremely ornate with architectural features
3) Villa Vignette on the wall of Tablinum - depicts the countryside while in urban area- escapism
Significance: H. Vettii, Theban and Ixion rooms - Tablinum fresco of the House of Marcus Lucretius Fronto
intended to impress clients - tablinum = office space. Cultural/ business significance
Key facts: GENERAL Terentius Neo - House of the Vettii
Believed to be owned by a wealthy freedman (trimalchio vision - our limited understanding of freedman leads us make assuptions which compound the stereotypes)
60-79 AD, Pompeii
Object: GENERAL Terentius Neo - House of the Vettii
Vettii were prosperous wine-producing freedmen brothers (based on bronze seals found in front room - not super compelling - as well as wax tablets outside)
Size: one of largest domus in Pompeii - very large atrium, no tablinum, typical plan of roman domus apart from this
Style: GENERAL Terentius Neo - House of the Vettii
Pompeiian fourth style - interest in creating illusionistic scenes and incorporating mythology - scenes believed to be copies of greek models
date: decorated after 62 AD earthquake
Key Facts: Fresco in the House of the Baker
Fresco showing the bread dole in tablinum (1st Century AD, Pompeii)
Object: Fresco in the House of the Baker
fresco painted in plaster scale (decorative) - very small house - there is evidence of bread-making machinery (wheat grinder, water basins, vaulted oven) in the garden of the building
Not necessarily the place where bread was sold
Subject: Fresco in the House of the Baker
Iconography: could be literal depiction or perhaps a show of a patrons generosity (gold paint colouring quite ostentatious) - loaves of bread stacked on the shop counter - baker is wearing a white toga suggesting he is a candidate for office - the baker is also youthful (hairstyle)
Skilful use of shading, particularly in yellow customer cloak
Style: Fresco in the House of the Baker
Fresco in the fourht style
House remodelled after 62 AD earthquake, ground floor converted into work-rooms - in tablinum
Comparanda: Fresco in the House of the Baker
1) Portrait of Terentius Neo and his wife (1st Century AD, Pompeii) - example of self-representation although the portrait makes no links wiht profession
2) Tomb of Eurysaces, Rome - far more ostentatious representation of baking - monumental scale - more public and commemorative
3) contrast the fresco decoration in the tablinum in the House of Lucretius Fronto (c.30 AD, Pompeii) which represents mythology and villa lifestyle over self-representation
Significance: Fresco in the House of the Baker
Other self-representations of baking exist in Roman world ie) tomb of Eurysaces
In tablinum- room of business - white toga suggests political aspirations, probably personal propaganda
Key facts: Zliten dining room mosaics: arena scenes
- Floor mosaic of games at the Zliten seaside Villa Dar But Ammera
- 2nd Century AD
- Libya
Object: Zliten dining room mosaics: arena scenes
- floor mosaic
- tesserae pieces, centre is made of marble plates
- large scale, 19x13ft
Subject: Zliten dining room mosaics: arena scenes
Scenes from Munera (private gladiatorial events - often funerary as oppose to Ludi which were public circus/theatrical events ) decorate the border
-Within border = tiles, which include different varieties of fish, have stark white backgrounds, employing abstract spatial effects which give the illusion of the fish being suspended in space without any shadow
