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  • Prof: Good morning.

  • As you can see from the title of today's lecture,

  • "Habitats at Herculaneum and Early Roman Interior

  • Decoration," we're going to be concentrating

  • once again, at least in the first half of

  • the lecture, on domestic architecture in

  • Campania.

  • We're going to look at several houses in Herculaneum,

  • and then we're going to move from there to begin our

  • discussion of early Roman interior decoration,

  • namely the First and Second Styles of Roman wall painting.

  • And what you'll see makes them particularly relevant to what

  • we've been discussing thus far this term is the fact that in

  • both the First and Second Styles,

  • architecture is depicted in these paintings,

  • and we're going to see some very interesting relationships

  • between that and the built monuments that we've talked

  • about thus far this semester.

  • Just to remind you of the location of Herculaneum,

  • which is usually called the sister city of Pompeii,

  • because of that locale.

  • We see it on the map here.

  • Pompeii is down in this location.

  • Herculaneum is to the northeast of Pompeii, closer to Naples

  • than Pompeii is, as you can see.

  • And note also the city of Boscoreale,

  • Boscoreale, which is located between,

  • almost equidistant -- a little bit closer to Pompeii than

  • Herculaneum -- but in between the two.

  • And I point it out to you now because we're going to look at

  • an important room, with paintings,

  • from the city of Boscoreale today as well.

  • Here you see a view, a Google Earth flyover,

  • of Herculaneum, as it looks today.

  • It's very helpful because you can see a couple of things here

  • that I want you to keep in mind, as we look at this city.

  • One, that although most of the city of Pompeii has been

  • excavated, only about a quarter or

  • twenty-five percent of the city of Herculaneum has been

  • excavated.

  • So we have much less at Herculaneum than we do for

  • Pompeii, and what we're missing, for the most part,

  • is the public architecture.

  • We don't have a great amphitheater from Herculaneum.

  • We don't have a theater and a music hall complex.

  • We think we might have part of the basilica,

  • but we're not absolutely sure.

  • We don't have the great large forum space that we have in

  • Pompeii.

  • So we're missing a lot of that public architecture at

  • Herculaneum, which gives us less of a sense

  • of what the city was originally like,

  • at least in its public face, although there's no doubt that

  • that material still lies beneath the ground.

  • So we have only a quarter of the city, mostly the residential

  • part of the city, or part of the residential part

  • of the city.

  • But there are several houses there that are extremely--

  • give us, provide information, especially about what was going

  • on between the earthquake and the eruption of Vesuvius,

  • 62 to 79, that are extremely valuable in terms of giving us a

  • sense again of the evolution of Roman domestic architecture.

  • The other issue that this particular view raises is the

  • reason why Herculaneum is less well excavated than Pompeii,

  • and the reason for that has to do--and you can see it well

  • here-- has to do with the fact that

  • the modern city grew up on top of the ancient city.

  • And they were able at one point to clear part of it,

  • for excavation, but they have not been able to

  • clear the rest.

  • It's a political nightmare to have to deal--

  • you have to relocate all the people who live in this area and

  • have lived in this area for a very long time.

  • That's politically a very difficult thing to do.

  • It also is extremely costly.

  • So thus far only twenty-five percent of Herculaneum revealed.

  • Let's all hope that at some point someday Italy can sort

  • this out and find a way to excavate the rest of this

  • extraordinary city.

  • You can see from this view that I took as--this is one of the

  • views that you get as you enter the site, the current location

  • today.

  • But I think you can see very well here again what I'm talking

  • about: the relationship between the ancient city,

  • lower ground level, that has been unearthed through

  • excavation.

  • You can see a peristyle court of one of the houses here,

  • for example.

  • But you can see the way in which the modern city rings the

  • site, and again what a challenge it

  • would be to remove that modern city and to reveal the rest of

  • Herculaneum.

  • Here's another view where you can also see some of the remains

  • of the ancient city, of these residences and so on,

  • and their relationship to the rest of the town.

  • With regard to the history of Herculaneum, it is very similar

  • to the history of Pompeii.

  • One difference is that the city of Herculaneum was supposedly

  • founded by Hercules, hence its name Herculaneum.

  • But in other respects the history again is quite

  • comparable.

  • We know, for example, that the city of Herculaneum

  • was overseen for awhile by that same Italic tribe called the

  • Oscans, who were then conquered by the

  • Samnites, and the Samnites took over

  • Herculaneum.

  • And it was during the Samnite period in Herculaneum that we

  • begin to see the same kind of architectural development that

  • we saw also in Pompeii.

  • We also know that those in Herculaneum,

  • the citizens of Herculaneum, the leaders of Herculaneum,

  • got involved in the Social Wars, as did those in Pompeii,

  • and that the city of Herculaneum was conquered by

  • Rome in 89 B.C., in 89 B.C.

  • So Herculaneum becomes a Roman colony in 89 B.C.

  • Thereafter we know--and of course at that point,

  • just as in Pompeii, the Romans begin to build

  • buildings in the Roman manner.

  • From that point on we know again comparable development.

  • We know that at Herculaneum they also witnessed that very

  • serious earthquake, an earthquake that also

  • destroyed significant parts of the city of Herculaneum,

  • and they too went through that frenzied seventeen-year period

  • of rebuilding.

  • But again, just as at Pompeii, it was for naught,

  • because the city of Herculaneum was also covered by the ash and

  • lava of Vesuvius.

  • However, there's one major difference that has to do with

  • the way that ash and lava fell.

  • We talked about the fact that at Pompeii there was actually

  • quite a bit of notice, that the ash and lava came down

  • on the city fairly gradually, and that there was time for

  • people to escape, and that most of them did,

  • except for those foolhardy souls who decided to wait it

  • out, which we discussed a couple of

  • lectures ago.

  • But in Herculaneum, it happened much more rapidly,

  • and in fact it became very clear, very quickly,

  • that a huge blanket of lava was headed toward the city.

  • And needless to say, that encouraged people to leave

  • pronto, and we thought,

  • at least for a very long time, that that's in fact what had

  • happened, that everybody had escaped the

  • onslaught of Vesuvius.

  • What happened after that blanket of lava engulfed the

  • city is it hermetically sealed the city,

  • hermetically sealed the city, in such a way that materials

  • that have been lost at Pompeii were preserved at Herculaneum.

  • And the best example of that is wood.

  • We have almost no wood.

  • Wood is not a material that withstands the test of time

  • terribly well, and we have almost no wood from

  • Pompeii.

  • But from the city of Herculaneum, we have a

  • considerable amount of wood, and this just has to do with

  • the fact again that the city was so hermetically sealed by that

  • blanket of lava.

  • And I can show you a few examples of what survives in

  • wood.

  • For example, this bed, or part of a bed,

  • that's still preserved, as you can see here,

  • with the wooden legs.

  • A wooden partition in one of the houses, to divide one

  • section, kind of like a modern pogo wall, to divide one section

  • of the structure from another.

  • You can see also the wooden frames around the doors and

  • around the windows are also preserved,

  • as are these wooden beams that you can see over the doorways

  • and over the windows-- mostly over the doorways--those

  • wooden beams also made out of wood.

  • And this is the most famous example,

  • and one that everybody sees as you wander the streets of

  • Herculaneum, the Casa a Graticcio,

  • which we see here -- and you can see that even the

  • balcony, which is made out of wood,

  • is extremely well preserved.

  • So this provides evidence that we don't have from Pompeii

  • that's extremely valuable in terms of understanding Roman

  • building practice.

  • I mentioned already though that we didn't think anyone--

  • we thought that all those who lived in Herculaneum had escaped

  • from Vesuvius, but it turns out that was not

  • in fact the case.

  • As recently as the 1980s, some archaeologists were doing

  • some excavating down at the sea wall of the city of Herculaneum,

  • and lo and behold, they came upon a cache of

  • skeletons.

  • And I show you some of those skeletons here.

  • And those skeletons are in the same kinds of positions as the

  • bodies that we saw at Pompeii, in that clearly a number of

  • them have huddled together for protection,

  • futile protection as it turned out.

  • And here another one who's raising himself or herself in an

  • attempt to survive somehow this awful event that has occurred.

  • We find these skeletons--and they found these skeletons near

  • the sea wall, and what they've concluded from

  • this, two things: one,

  • again the difference in the lava that fell on Herculaneum.

  • You can see that it not only preserved wood,

  • it also preserved bone, which is why the skeletons are

  • still visible here, whereas at Pompeii everything

  • decomposed, at Pompeii.

  • So the situation again quite different.

  • But they've also been able to determine that what clearly

  • happened here is again because there was so much notice,

  • people fled.

  • And where did they flee?

  • They fled toward the water, because they were right on the

  • sea, they had a lot of boats,

  • and the hope was that they could ferry everybody out from

  • the city.

  • And for the most part they were successful,

  • but there was a certain group that unfortunately got left

  • behind, and it was their remains that

  • were discovered in the 1980s.

  • It's amazing what these bodies can tell us about some of the

  • people who lived there, and I'll just give you a little

  • sense of a couple of the storylines.

  • Here is the skeleton of a woman, and you can see that this

  • woman has-- if you look very closely at her

  • left hand, two of her fingers--you can see

  • she has rings on two of her fingers,

  • and those are larger views of those very rings.

  • Two rings with green and red stones.

  • The red stone, you can see,

  • has a little bird depicted on it.

  • These were her rings.

  • Consequently the archaeologists call her "the ring

  • lady"; or it should be "the rings

  • lady."

  • But here she is with her two rings.

  • And you can see that she also had, next to her side,

  • these two absolutely gorgeous golden snake bracelets,

  • sort of à la Cleopatra, Cleopatraesque,

  • that she obviously loved and took with her when she attempted

  • to escape from the city.

  • And an even more poignant story is this one.

  • What we're looking at here is the head of a woman;

  • a young woman, the excavators have determined.

  • And if you look at the top of her head, you will see that a

  • tuft of hair is actually preserved.

  • It looks dark in this image but it's actually blond.

  • So they've been able to determine this was a young,

  • blond woman, who lived in Herculaneum.

  • And you can see the small size of the skeleton below.

  • This is not hers; it's obviously her fetus,

  • the baby.

  • She was seven months pregnant they've been able to determine,

  • and so they have found the bones of the baby as well.

  • And you can see them here and the excavators--

  • the excavation reports -- they talk about the fact that the

  • bones of the baby, of the infant,

  • of the unborn child, are so fragile that it was like

  • picking up eggshells, when they were trying to piece

  • this skeleton together.

  • So it's incredible the kind of information that archaeologists

  • have been able to glean from those trying to escape

  • Herculaneum on that fateful day in August of 79.

  • One other sad story is just that they did actually find the

  • remains of one child-- this is sort of like the story

  • of the dog at Pompeii-- one child whose remains were

  • left in this little crib in one house.

  • And again the bones are preserved, because of this

  • circumstance of the particular configuration of the lava;

  • the bones of that small child are also preserved in this crib

  • in one of the houses in Herculaneum.

  • To turn to the city itself, I show you now a plan of

  • Herculaneum, or at least the excavated part

  • of Herculaneum, that gives you some sense of

  • what is there.

  • And I've already mentioned that we simply won't see any big

  • amphitheater in plan, or any major forum complex,

  • and so on and so forth.

  • We simply don't have that evidence in the excavated part.

  • But what you do see is comparable to the residential

  • area of Pompeii.

  • You can see a series of major thoroughfares crossing with one

  • another.

  • We can't be sure, since we don't have the whole

  • city, which is the main cardo

  • and which is the main decumanus of the city,

  • but they are certainly laid out at a quite regular pattern,

  • with shops and houses interspersed with one another,

  • as you can see extremely well here.

  • Again, we don't, as far as we know,

  • we really don't--well we're quite sure we don't have any of

  • the major public buildings.

  • But there are a couple of structures here and there that

  • do tell us something.

  • Here's an arch, for example,

  • that may have been on one of the more important thoroughfares

  • of the city, and we certainly have shops and

  • the like along the way.

  • And I can actually show you a few views of shops and the city

  • streets and so on, that give you a good sense that

  • Herculaneum was very similar looking to Pompeii.

  • If you look at the street here--it's a street from the

  • city of Herculaneum--you can see the same multi-sided stones for

  • the pavement.

  • You can see the same sidewalks.

  • You can see the same drains in Herculaneum.

  • You can see the same rut marks.

  • What you don't see--and I started a post on this

  • yesterday--what you don't see are stepping stones.

  • There are no persevered stepping stones in Herculaneum.

  • There are lots of preserved stepping stones in Pompeii.

  • And I was mulling this over yesterday in a way,

  • even beyond what I have tended to in the past about these

  • stepping stones, thinking about could I think of

  • any other examples in any other Roman city I've ever been,

  • including Rome itself, where there's actually quite a

  • bit of preserved pavement here and there --

  • out on the Via Appia, in the Roman Forum,

  • and so on and so forth?

  • And I can't think of a single other site, off the top of my

  • head, where we find stepping stones.

  • So I just put that out as a thought question for all of us,

  • to see whether I'm missing something,

  • or whether it's conceivable that Pompeii may have been

  • exceptional in this regard, rather than the norm.

  • Here we see amphoras, these clay amphoras in which

  • wine or oil were kept, so a wine or an oil shop there.

  • And then, of course, our favorite,

  • the fast-food stand, the thermopolium;

  • Herculaneum had plenty of thermopolia,

  • very similar to those in Pompeii.

  • So you can imagine, for the most part,

  • a quite similar looking city.

  • I mentioned though that the evidence that we do have is

  • mostly for residential architecture,

  • and there are three houses in particular that I want to focus

  • on, because they give us

  • information that goes beyond the information that I've been able

  • to give you from the houses that we looked at in Pompeii.

  • The first one I want to look at is the so-called Samnite House

  • at Herculaneum.

  • It dates to the second century B.C., and you see it in plan

  • here.

  • It's a very simple house.

  • So second century B.C.

  • That tells you what?

  • It tells you that it's early, but it's already in that

  • Hellenized-domus period, which began in the second

  • century B.C.

  • So we look to see which plan it conforms to.

  • Does it conform to the Domus Italica, or the Hellenized

  • domus?

  • Well at first it looks like it conforms to the Domus

  • Italica, because you can see it's quite simple.

  • It has the basic core.

  • You come in here, into the fauces.

  • There are cells on either side, the cellae.

  • These cellae are indeed cellae.

  • They open up only to the house and not to the outside.

  • They have not been transformed into shops.

  • We see the atrium here.

  • We see the impluvium of the atrium, and there was,

  • of course, a compluvium up above.

  • We see a very small number of cubicula,

  • just a couple over here.

  • And we don't seem to see the usual wings,

  • unless this one over here--although there seems to be

  • some sort of staircase on that side--

  • served in part as the wing.

  • And so and one of those rooms, probably the left one,

  • served as the dining room.

  • There's no hortus, there's no peristyle.

  • So again at first it looks like a pretty simple example of

  • the--an even simplified version of a typical Domus

  • Italica.

  • But when we walk into the atrium, which is very well

  • preserved today, we see something quite

  • different.

  • The focus in this particular house was the atrium.

  • You can tell it's an atrium.

  • You can see the compluvium up above.

  • We're looking here at the entranceway, through the

  • fauces.

  • These are the doors into the two cells, one on either side.

  • This is a door into one of the only two cubicula in this

  • structure.

  • You can see also that the patron and designer of this

  • particular house wanted to-- you can see that this is a

  • Hellenized domus, in the sense that they have

  • incorporated pilasters here, on either side of the wall,

  • next to the entranceway.

  • But most interesting of all is what has happened in what seems

  • to be a second story for the atrium.

  • They have expanded, they have moved,

  • they have developed the atrium even more vertically than has

  • been the case before, by adding this blind gallery,

  • up at the top, which on three sides is again

  • closed-- you can see the enclosed

  • wall--but on the fourth side, which I don't have an image to

  • show you, the fourth side, it's open.

  • So there's an open loggia, there's open space between the

  • columns.

  • So blind gallery on three sides, open loggia on the other

  • side; the open loggia,

  • of course, bringing additional light into the atrium.

  • So a very elaborate treatment of the atrium,

  • which shows us not only the esteem in which this particular

  • patron held the atrium, but also this interesting

  • incorporation of columns in a different way than we've seen

  • before, making them the high point of

  • this room by placing them in the second story.

  • They are Ionic columns.

  • Notice also this sort of latticework fence that encircles

  • it.

  • We'll see that kind of latticework fence also in Roman

  • painting.

  • You can see, in fact, the remains of some

  • paint on the walls.

  • So the walls behind this were painted.

  • So a very opulent atrium that shows again this interest in

  • building vertically and adding some interest at the uppermost

  • part, to create this sense of two

  • stories.

  • This is a development--this is in fact even early for that,

  • in the second century B.C.

  • The two most important houses, however, at Herculaneum are the

  • House of the Mosaic Atrium and the House of the Stags.

  • And I want to look at both of those houses with you today.

  • I'm going to start with the House of the Mosaic Atrium.

  • You can see from this plan, which comes from the

  • Ward-Perkins textbook, you can see from this plan that

  • they are literally side-by-side; they essentially share a wall,

  • as you can see here.

  • They are very important in terms of the development,

  • not only of residential architecture in Campania in the

  • late first century A.D., but also as a premonition of

  • what's to come in much later residential architecture.

  • Again, I'm going to look at both of them,

  • and we'll start first with the Mosaic Atrium.

  • If you look at the top of the plan,

  • the northern most part of the plan--

  • and this house, by the way, does--as you can

  • see from the Monument List-- does date to A.D.

  • 62 to 79, so at the very end of domestic architecture

  • development in Pompeii.

  • If we look at the uppermost part, the north,

  • you will see that if you enter the house at the arrow,

  • and you look ahead, you would think--

  • you look at the vista ahead and see the atrium and the

  • tablinum-- you would think you were in a

  • typical Domus Italica type house.

  • It's got those three main elements.

  • It's got the fauces; it's got the atrium with an

  • impluvium and a compluvium,

  • as we'll see; and it's got a tablinum,

  • all on axis with one another.

  • But as you're standing in the atrium looking toward the

  • tablinum, you're kind of looking at this

  • tablinum and saying to yourself,

  • "This is not the tablinum I know,

  • this is not the tablinum I'm used to,

  • this is not the tablinum in most of the houses that I

  • know."

  • It's designed in a very different way.

  • And what is it that you see in plan that indicates to us that

  • it's designed in a different way?

  • Does anyone see what it is?

  • Student: Columns.

  • Prof: It has--are they columns?

  • Look closely.

  • Student: Flat.

  • Prof: Are they round?

  • Student: No.

  • Prof: No, they're square.

  • So they're either piers, or they're columns on bases

  • that are square.

  • But you're right, there are architectural members

  • in here.

  • It turns out they're piers but--so there are piers in here.

  • Okay.

  • What else?

  • What about the actual plan itself?

  • How are those piers--what's the relationship of those piers to

  • the room design?

  • Someone over there?

  • Student: Freestanding.

  • Prof: Freestanding. Yes.

  • What else?

  • Does it remind you of a plan we've seen in another context?

  • You're looking at a central space, divided by two aisles,

  • by architectural members, in this case by piers.

  • A basilica.

  • It's a basilican plan: central nave,

  • two side aisles.

  • What's a basilican plan doing in a house?

  • Is this a basilica or a law court?

  • No.

  • It's actually a winter banqueting room,

  • but a winter banqueting room in the shape of a basilica.

  • And I make a lot of that, because we'll see this

  • happening with increasing frequency in Roman architecture,

  • and that is a certain building type that was developed for one

  • kind of building-- in this case a basilican plan

  • developed for law courts-- begins to be used for another

  • kind of room, in this case a winter

  • banqueting hall.

  • And I like to call this the sort of inter-changeability of

  • form -- that you can develop a certain

  • plan for a certain kind of structure,

  • but then be creative enough to realize that you could use that

  • same plan in another environment,

  • in a different but interesting way.

  • And that's exactly what happens here.

  • Now needless to say the scale is actually fairly large.

  • But this does not look like a huge basilica.

  • It's brought down to domestic size scale, as you can see here.

  • So that's a very interesting development.

  • It's very well preserved, and I'll show it to you in a

  • moment.

  • So once you get into the atrium, then you have to take an

  • abrupt right in order to see the peristyle court.

  • And the peristyle court is very, very large.

  • We've talked about the fact that there was an increasing

  • interest in the peristyle as a key component of a Roman house,

  • and we see that very clearly here;

  • in fact, the peristyle is really beginning to take pride

  • of place away from the atrium.

  • Because the atrium is almost beginning to go the way of the

  • tablinum, in the sense that it's becoming

  • a kind of passageway; it's not an end in itself,

  • it's becoming--or the atrium and tablinum aren't ends

  • in themselves, they are a passageway into this

  • huge peristyle.

  • If you look at the plan of the peristyle, you can see that

  • there are columns, but those columns are engaged

  • into the wall.

  • And that's well preserved.

  • I'll show it to you in a moment.

  • And then also extremely interesting is now on axis with

  • the atrium and the huge peristyle, is TR;

  • TR is the triclinium or the dining room.

  • And look at the size of that triclinium,

  • and look at the fact that the triclinium opens both off

  • the peristyle and also has an opening on this way,

  • on this end, toward the front--toward the

  • other side, excuse me--of the house.

  • And this is the side, the southern side that faces

  • the sea.

  • And Herculaneum was very close--I'll show you a restored

  • view that makes this clear in a moment--Herculaneum was very

  • close to the sea.

  • And these two houses were probably among the two most

  • expensive houses in Herculaneum, because they had the best views

  • of the sea.

  • They were very high up, above the sea wall,

  • and they looked right out at the sea.

  • So the way they've designed this: very large

  • triclinium, to benefit from being able to

  • see both the peristyle and views out over the sea,

  • even while you were dining.

  • There seems to have been a colonnade over here--so views

  • through columns, out to the sea--and then these

  • two rooms at D.

  • These are, as you can see here, the diaetae;

  • d-i-a-e-t-a, singular; d-i-a-e-t-a-e, plural.

  • These are rooms that are set aside for sort of summer

  • pleasure, summer pleasures, near the panoramic window that

  • you can look out to the sea.

  • So a place to relax and enjoy the sunshine on the southern

  • end; views of the sea;

  • a special room set aside just for that kind of panoramic

  • viewing and the like.

  • So this move again toward vista, toward panorama,

  • that we've been talking about before.

  • So some very important changes here that signal where Roman

  • residential architecture will go in the future.

  • I'm going to wait on the plan of the Stags until we finish

  • with the Mosaic Atrium.

  • The Mosaic Atrium, you can see a view into the

  • atrium today.

  • You can see why the house is called the House of the Mosaic

  • Atrium, because of the very

  • well-preserved black and white, striking black and white mosaic

  • that we find there.

  • And you can see how well preserved the impluvium

  • is, with the mosaic decoration around that.

  • You can also see, however, if you look carefully

  • at this image--you've probably noticed it already--that the

  • floor undulates.

  • Why does the floor undulate?

  • The floor undulates because of that heavy blanket of lava that

  • entered into Herculaneum, that made its presence known

  • and that distorted the shape of the floor of the atrium,

  • but fortunately preserved it, at the same time,

  • which is great.

  • We're looking from the atrium into the tablinum,

  • and we see that basilican form that we described already

  • before: a central nave, a back wall,

  • side aisles on either-- you can't see this side,

  • but the same on this side as on this side--

  • side aisles and circulation of space among them.

  • And you can also see, if you look very carefully--

  • and I have another view in a moment--

  • that there are windows here as well,

  • windows that allow light into the system.

  • When we talked about the Basilica of Pompeii,

  • I mentioned to you that the Basilica at Pompeii did not have

  • a clerestory-- c-l-e-r-e s-t-o-r-y--did not

  • have a clerestory, but that we would begin to see

  • the development of the clerestory later.

  • We see it here; this use of a clerestory with

  • the placement of windows in that second story to allow light into

  • the structure.

  • It has been developed here.

  • It's a very important architectural development,

  • and we're going to see again the ramifications of that into

  • the future.

  • Here's another view of this banqueting hall.

  • And, by the way, the technical name for this--

  • and I have it on the Monument List for you--

  • is the Egyptian oecus or the oecus

  • Aegypticus; the oecus

  • Aegyptiacus, or if it's easier for you,

  • the Egyptian oecus: this particular form of

  • banqueting hall, in the shape of a basilica.

  • This view is helpful, not only because you can see

  • the piers better, but also because you can see

  • the windows better: the clerestory system that

  • allows light into the space.

  • And you can also see this ubiquitous use of white and red

  • for the piers in this case, just as they are usually used

  • for columns.

  • The uppermost part of the pier is white, and then they've

  • painted the bottom red.

  • So very similarly to the kind of decor we saw also in Pompeii.

  • This is, of course, the peristyle court.

  • You can see it here, and you can see the way in

  • which these columns have been engaged into the wall of the

  • garden court.

  • You can also see this interesting use of combination

  • of stone and tile, for the construction.

  • Also interesting, as you look at the rooms that

  • line the side of the peristyle, you can see how opened up they

  • have become.

  • We don't see that severe wall that we saw in the very earliest

  • Domus Italica, with no windows,

  • as you'll recall.

  • There are lots of windows here, and they are large windows,

  • and they are allowing light into the structure,

  • not just on the front, where the views are,

  • but on the other sides of the building.

  • This is again a very important change and one that is going to

  • have again important ramifications for the future.

  • Note also that the famous Pompeian red is used to decorate

  • the walls.

  • So that's the House of the Mosaic Atrium.

  • Now let's turn to the House of the Stags;

  • the House of the Stags so called because of a sculpture

  • that was found there, that I'll show you a bit later.

  • If we look at the House of the Stags, we see some interesting

  • things happening as well, that seem to parallel the

  • development we've already described.

  • This house too, built between 62 and 79.

  • The entrance in this case is on the uppermost right,

  • right here, and you can see that you enter in along a

  • fauces, along the throat of the house,

  • into what is designated as the atrium.

  • But that atrium is not like any other atrium we've seen thus far

  • this semester.

  • What's missing?

  • Student: Impluvium.

  • Prof: The impluvium;

  • the impluvium is missing.

  • If there's no impluvium, there's no compluvium,

  • which means that the room is not open to the sky.

  • And we call an atrium that has no opening--and I've put this on

  • the Monument List for you--an atrium

  • testudinatum; an atrium

  • testudinatum is an atrium that has no opening to the sky.

  • And that's the case here.

  • That also tends to underplay the space,

  • because it's no longer as interesting as it was when it

  • had that wonderful basin and the skylight and so on and so forth.

  • And if you look at the plan, you'll see it's very

  • interesting.

  • It has lots of openings on various sides.

  • So this is a really good example of what I was hinting at

  • before, and that is the atrium beginning to go the way of the

  • tablinum; the atrium beginning to become

  • a passageway from one part of the house to another.

  • It really is merely a passageway from the outside,

  • from the fauces, into the other rooms of the

  • house.

  • What has received the greatest emphasis,

  • by the patron and by the designer, is not the atrium,

  • but is the triclinium or dining hall,

  • and you can see that there are two of them,

  • and they are placed in relationship to one another,

  • axial relationship to one another.

  • So they're almost talking to one another;

  • there's a kind of dialogue, an architectural dialogue,

  • between that smaller triclinium and this

  • larger triclinium, across an open courtyard.

  • So here we see again the triclinium beginning to

  • emerge as the single most important room in the house,

  • which obviously signals what's going on in these houses --

  • that people are beginning to use them even more than they did

  • before, not only as places of business

  • but as places to enjoy fabulous dinner parties,

  • while you can look out over the sea.

  • And, in fact, if you look at this

  • triclinium, the larger one,

  • you can see again it opens both off the garden court,

  • and also opens toward the south, where you would have seen

  • the views of the sea; all of this very deliberate.

  • We see the diaetae here as well, these summer living

  • spaces with views out over the water.

  • And here we see an interesting detail,

  • which is a kind of kiosk or gazebo that's located in the

  • front, and that actually still

  • survives, and I'll show that to you in a moment.

  • So again quite momentous changes in residential

  • architecture in Herculaneum and in Campania in general in the

  • late first century A.D.

  • This is a restored view -- very helpful because we can use it to

  • illustrate a number of things.

  • We can use it to illustrate how close to the sea Herculaneum

  • was.

  • We can use it to look at the sea wall that I talked about

  • before.

  • We can use it to look at the harbor, the small boat dock that

  • was down here, with boats waiting.

  • This was the place that people ran to in order to escape the

  • onslaught of the Vesuvius.

  • And this is exactly -- this sea wall is exactly where those

  • bodies were found, so they made it this far but

  • not far enough.

  • And we can pick out both the House of the Mosaic Atrium,

  • right here, and the House of the Stags, over here:

  • both of them very large, as you can see.

  • You can see in the case--here's the northern end--

  • you can see is this case, for the House of the Mosaic

  • Atrium, the compluvium of the

  • atrium that we described, the mosaic atrium.

  • You can see the open court here.

  • You can see the side that faces the sea and how opened up it is,

  • how many windows there were, how open,

  • the diaetae on either side, where you could get nice

  • views.

  • Here, the House of the Stags, same sort of thing.

  • You see no opening whatsoever in the northern end,

  • no opening in the ceiling, no compluvium.

  • You see the two trinclinia facing one

  • another across the open court, and you see that little gazebo

  • entranceway, a gazebo that again looks out

  • toward the sea, that distinctive detail.

  • Here are a couple more views, just to show you quickly.

  • If you go and visit Herculaneum, you can still see

  • those sea walls there, made out of concrete as you can

  • see.

  • They're well worth taking a look at.

  • And this is a view taken--this is one of the ways you can enter

  • into the city--taken across.

  • You can see Vesuvius in the background, and you can see this

  • is the House of the Mosaic Atrium, that we've been looking

  • at.

  • This is the House of the Stags.

  • And you can tell the difference because of the little gazebo,

  • little kiosk in front.

  • And here you can see again so well the way this is positioned

  • high up on the wall, with spectacular views of the

  • sea, and this opening up of the wall to allow maximum vista,

  • maximum panorama, through those spaces in the

  • house.

  • Note the kiosk here, and then note this other

  • entrance; I'm going to show you both of

  • those in detail.

  • This is a little gazebo.

  • As you can see, it rests on piers.

  • It was obviously a very pleasant place to sit,

  • with marble furniture, and to have a glass of wine out

  • here, looking out over the sea.

  • And you can see once again that the piers have been stuccoed

  • over: white on top, red on the bottom,

  • just as we have seen is so characteristic also of Pompeii.

  • And right behind, that other entranceway,

  • that I can also show you, where you can see--

  • if you look very closely, you can see not only the red

  • paint on the pilasters, but also the very elaborate

  • decoration in blue and white of the pediment above.

  • This gives you some sense also of the kind of decorative

  • sculpture there would've been in buildings like this:

  • the marble tables, these wonderful statues--there

  • are two of them-- of stags being attacked by

  • hounds, and these stags are what have given this house its name,

  • the House of the Stags.

  • I want to turn from Roman residential architecture in

  • Herculaneum and the developments there,

  • to early Roman wall decoration, painted decoration,

  • and as I said at the beginning, specifically to the First and

  • Second Styles of Roman wall painting,

  • which are particularly interesting in the context of a

  • course on architecture because, as we'll see,

  • they are so architecturally oriented.

  • I want to begin with a wall from the House of Sallust,

  • and we'll go back to Pompeii.

  • We'll be looking at examples both in Pompeii and Herculaneum,

  • and also Rome.

  • I want to look at the House of Sallust in Pompeii.

  • And you can see from your Monument List that the

  • tablinum was decorated with what we call First Style

  • Roman wall painting.

  • That's obviously a modern, scholarly designation.

  • They didn't call it that in ancient Rome or Pompeii or

  • Herculaneum.

  • First Style Roman wall painting.

  • This tablinum in this house was decorated in around

  • 100 B.C., which is when we date most of the examples of First

  • Style Roman wall painting.

  • It is very well preserved, and it gives us a very good

  • sense of what the Romans, or what, in this case,

  • the Pompeians were trying to achieve.

  • This style, the First Style of Roman wall painting is also--

  • you'll see it referred to in your books and in your textbooks

  • and in scholarship in general, as either the Masonry Style,

  • or the Incrustation Style.

  • And the reason for this--both of those are good descriptions--

  • because you can see that what is at work here is that the

  • designers are trying to create a wall,

  • they're trying to create the illusion that what we're looking

  • at is not a stucco and paint wall,

  • which is actually what it's made out of,

  • but a real marble wall.

  • We can see that the wall is divided into a series of zones,

  • architectural zones, which are exactly the zones

  • that were used in Roman building technique.

  • We don't quite see it here.

  • I'll show it to you in another example.

  • There's usually, way at the bottom,

  • a very narrow band, which is called a plinth,

  • p-l-i-n-t-h.

  • The plinth has above it what's called a socle,

  • s-o-c-l-e, which is a higher, a slightly higher element.

  • Then what are called the orthostats, o-r-t-h-o-s-t-a-t-s;

  • the orthostats are these blocks here.

  • And then the isodomic, i-s-o-d-o-m-i-c,

  • the isodomic courses; you see those here.

  • And then usually either a stringcourse,

  • or more likely, or in addition to,

  • a cornice, what's called a cornice,

  • a projecting cornice-- c-o-r-n-i-c-e--at the top.

  • So plinth, socle, orthostats, isodomic blocks,

  • and then the stringcourse and the cornice, which again

  • corresponds to actual Roman building technique.

  • But more important than that terminology is again what they

  • are trying to achieve here.

  • It is clear when you look--well first of all keep in mind that

  • this is not flat; it's a relief,

  • it's a relief wall, and the wall has been built up

  • in relief through stucco.

  • They've taken the rubble wall, they've added stucco,

  • and they've made that stucco look like a series of blocks

  • that are divided by these stringcourses.

  • Then what they've done is painted those blocks,

  • and they've painted those blocks not all one color,

  • not all Pompeian red, but all different kinds of

  • colors: green and red and pink and beige,

  • and sometimes multicolored, as we'll see.

  • What is the implication here?

  • The implication here is that we are looking--

  • that they're trying to create the illusion,

  • through stucco and paint, of a marble wall,

  • of a marble wall that would've been very expensive to build,

  • because you would've had to bring all of these multicolored

  • marbles, which you could not find in

  • Italy, from places very far away: from North Africa or from

  • Asia Minor or from Greece or from Egypt.

  • You'd have to bring it from very, very, very far away,

  • and that would cost a tremendous amount of money.

  • So what they are saying here is, "I'm the owner of this

  • house.

  • I am wealthy enough to be able to afford bringing marble from

  • all over the world and using it to decorate my

  • tablinum."

  • Now was anyone fooled that this was a real marble wall and not a

  • painted wall?

  • Well probably not.

  • But the idea was to give one the sense that this was a very

  • expensive wall.

  • And we'll see one of the most--well I'll hold that until

  • later, that thought until later.

  • Here's another example in the same house.

  • This is the House of Sallust.

  • We are looking--we have just--here's the tablinum

  • wall that we just looked at.

  • We are now in the atrium of the house, or what survives of the

  • atrium of the house.

  • We are looking at two of the cubicula that open off

  • the atrium.

  • And if you look at the walls, you can see again the same

  • effect, that the rubble wall has been covered with stucco;

  • that the stucco has been divided--the stucco has been

  • built up in relief; that it has been divided into a

  • series of architectural zones.

  • And then the individual blocks, in the orthostat level and in

  • the isodomic level, have been painted different

  • colors, again to give this illusion

  • that what we are looking at is a marble wall,

  • not a painted wall.

  • So an attempt to make something, to fictionalize and

  • make something seem more than it actually is.

  • Here's another view, a restored view,

  • that gives you a sense perhaps of what this might have looked

  • like when the colors were more vivid.

  • We do believe that those cubicula had doors,

  • probably wooden doors that no longer survive.

  • And you can see not only the architectural courses here,

  • but the effect that this would've had.

  • Here's one of these multicolored blocks,

  • again, marble that would've had to be brought from North Africa

  • or somewhere like that, where they had these kinds of

  • multicolored marbles.

  • But this gives you some sense of what the appearance would

  • have been.

  • And perhaps from a distance your eye really would have been

  • fooled into thinking that this was a real marble wall.

  • You'll remember the restored view I showed you of the House

  • of the Faun, where we stood again in the

  • atrium, looking back at the statuette

  • of the Faun, and I mentioned that the walls

  • were decorated with First Style Roman wall painting.

  • And so we see that again here.

  • And we see the kind of effect it would've had if the entire

  • space was covered with this kind of wall painting.

  • You can also see the relationship between those

  • paintings and the vista that one saw as one stood and looked back

  • through the columns, on to the additional columns of

  • the peristyle court.

  • Another example of a First Style wall,

  • this one from Herculaneum, is the so-called Samnite House,

  • which we saw earlier today, with that fabulous atrium.

  • The Samnite House.

  • And this is the fauces of the Samnite House;

  • also dates to 100 B.C.

  • And you can see the same scheme as we already saw.

  • One additional feature that you can see better here is the

  • plinth, this very narrow band that we see at the bottom,

  • the plinth.

  • The socle here.

  • The orthostats here.

  • The isodomic courses here.

  • The stringcourse, and then the cornice.

  • So exactly the same scheme that we saw in the other house at

  • Pompeii we see here in the Samnite House at Herculaneum,

  • this one even better preserved.

  • And that's actually a very washed out view,

  • but I can show you a better one, where you can get a better

  • sense of the coloration of this particular wall:

  • the plinth, the socle, the orthostats,

  • the isodomics and then a frieze;

  • as you can see, in between the stringcourse and

  • the cornice, there is a red frieze.

  • And look at--this is better preserved so that you can get a

  • better sense again of what this might have looked like in

  • ancient Roman times-- this wonderful contrast between

  • the reddish, porphyry-like stone that

  • probably would've come from Egypt;

  • the multi-grained stone that might've come from North Africa;

  • the kind of impact that this would've had.

  • But again, most important for us, is what they're trying to do

  • is create an illusion.

  • They're trying to create, make something look like

  • something it really isn't.

  • They are using again stucco and paint to make a wall,

  • to make a very plain wall, to make a rubble and stucco and

  • painted wall into a very grandiose wall,

  • that looked like walls that were probably the kinds of

  • walls-- in fact we're sure they were

  • the kinds of walls-- that decorated the palaces of

  • great Hellenistic kings in the Hellenistic East.

  • We know that the great kings of Pergamon, and some of the other

  • kingdoms, had palaces that had real marble walls.

  • And we think it's very likely that that is the sort of thing

  • that they are trying to recreate here.

  • And then a very, a particularly important point,

  • I think, is the fact that even though I would love to lay claim

  • to this particular style for the Romans,

  • the Romans did not invent the First Style of Roman wall

  • painting.

  • They copied it from the Greeks.

  • We know that the Greeks used this First Style of Roman wall

  • paint -- it wasn't called the First Style of Roman wall

  • painting, obviously, for them.

  • But they used something comparable to the First Style,

  • which we believe was derived from these Hellenistic palaces,

  • ultimately.

  • And you can see here a view of a wall,

  • or a drawing of a wall, that was in--

  • and it's on your Monument List -- from the House of the Trident

  • on the Island of Delos: late second,

  • early first century B.C.

  • The Island of Delos was strategically located between

  • Italy and Greece and Asia Minor and so on.

  • It was one of these crossroads of trade, and it was a place

  • where Romans settled in the first centuries B.C.

  • especially.

  • And we see houses there--probably some Greek

  • owners, some Roman owners--that have this same kind of style.

  • It's painted.

  • We see the same zones--I won't describe them again--

  • but the same architectural zones that we see in the First

  • Style paintings in Pompeii and in Herculaneum.

  • And we believe that those are based on Hellenistic precedents.

  • But they show us again that this was used in the Greek East.

  • It was probably picked up by some of the traders,

  • brought back to Italy, and used there.

  • The fact that it's a Greek import is extremely important,

  • because then we can group it with all the other Greek imports

  • that we've been talking about: the columns,

  • the peristyles, the Alexander mosaic;

  • all of the things that the Romans, the Hellenizing elements

  • that we have seen the Romans be particularly fond of in this

  • early period and have used themselves in their architecture

  • and in their architectural decor.

  • So we see that here, again, the taking over of a

  • Greek style of organizing and decorating a wall for these

  • Roman buildings.

  • This is a house we'll look at later in the semester at Ostia,

  • the port city of Ostia, the so-called House of Cupid

  • and Psyche, and we see the two lovers here,

  • on a pedestal in the center.

  • I show it to you here only--it's a much later

  • structure-- but I show it to you only

  • because you'll see, when we get to that,

  • that the Romans do-- and we'll see it much earlier

  • than that in fact-- the Romans do begin to revet

  • some of their structures with marble--

  • this begins already in the age of Augustus,

  • so we'll see it very soon--and eventually it becomes part of

  • house design as well.

  • So while this isn't as grandiose as a Hellenistic

  • palace would've been, it does give you some idea of

  • what a house would look like, or a palace would look like,

  • that had marble on the floor and marble on the walls.

  • And it's this kind of thing that they are trying to create

  • the illusion of-- this is very subtle with

  • pastels and so on-- but it's this kind of thing

  • that they are trying to create the illusion of,

  • with the Roman First Style.

  • We see First Style Roman wall painting also in Rome,

  • and in fact I can show you an even more spectacular example in

  • Rome.

  • It's from the House of the Griffins, and I show you a view

  • into a great barrel vaulted room.

  • We're walking along the corridor of a great barrel

  • vaulted room in the House of the Griffins in Rome,

  • on the Palatine Hill, in fact, under the later

  • imperial palace of the emperor Domitian.

  • It dates to 80 B.C.; this particular room,

  • which we call Room 3, dates to 80 B.C.

  • It's from this room that the house gets its name.

  • You can get a glimpse of--and I'll show you a better view in a

  • moment--of the griffins.

  • There are heraldic griffins in a lunette, painted red in the

  • background.

  • They're made out of--they're built up in stucco -- and then

  • the lunette itself is painted red.

  • It's from those griffins that the house got its name.

  • We are looking down the side of that house, and we see again

  • that is built up in stucco, so it's still a kind of stucco

  • relief.

  • But if you look at the paintings on the walls,

  • and on the back wall, the side wall or the back

  • wall-- and I'll show you a better view

  • here-- you will see that although we

  • are dealing with something that looks like a First Style wall--

  • it's very flat, it's divided into architectural

  • zones: the socle, the orthostats,

  • the isodomic courses here-- that is all done entirely in

  • paint, as you can see.

  • It's not built up as a relief.

  • The only relief here that we see is the relief that is used

  • for the heraldic griffins, up in the uppermost part.

  • When this was in better condition, a painting was made

  • of it, and I show that painting to you here.

  • And I hope this will give you a better sense than anything else

  • I've shown you today of how glorious these things must have

  • been in antiquity, and how again if you stood back

  • from them, you might have been somewhat

  • fooled.

  • We see the wall here.

  • We can see all the components that we've already described:

  • the plinth, the socle, the orthostats,

  • the isodomic courses, and then the lunette with the

  • heraldic griffins.

  • And again, the whole idea of this being to give you the

  • impression that you are looking at a real marble wall,

  • even though you are looking at a painted wall.

  • Much more important for the development of Roman painting is

  • another house that I'm going to show you here,

  • which is Room 2, in the House of the Griffins.

  • And this dates a little bit later;

  • it was done between 80 and 60 B.C.

  • And we look at this; we will see that there are

  • beginning to be some important changes here.

  • As you look at this--you see we're looking at a

  • barrel-vaulted room, once again -- all three walls

  • well decorated and very well preserved.

  • So we can see exactly what's going on here.

  • As we look quickly, we see remnants of the First

  • Style wall.

  • We see that we have the same architectural zones--the

  • plinths, the orthostats, the isodomic courses--and we

  • have the same idea of marble.

  • You can see that these variegated marble blocks and

  • these red panels are meant to look again like marble,

  • although this is done entirely in paint;

  • there is no stucco used in this room whatsoever.

  • Stucco is not used anywhere here.

  • It's completely flat and it is painted as an illusionistic

  • view.

  • But as we look at this, we see although we get a sense

  • that that First Style wall is kind of still present,

  • we also see some again very important changes.

  • We see the way in which they've treated the socle here,

  • to create these kinds of illusionistic cubes that look

  • almost as if they're projecting out into our space.

  • Look also at what they've done by adding columns,

  • columns that stand on bases, this colonnade that seems to

  • encircle the room, the way a peristyle encircles a

  • garden court, this introduction of columnar

  • architecture.

  • Again clearly under the influence of Greek architecture

  • and clearly commensurate with what they're doing in temple

  • architecture, what they're doing in sanctuary

  • architecture, and also in house architecture.

  • So we see those columns.

  • And it looks as if those columns are resting on bases

  • that are represented as if they're receding into the

  • background.

  • The artist has paid a lot of attention to trying to render

  • them perspectivally.

  • So although all of this is done in paint,

  • we get the impression that what we're looking at is a colonnade

  • that is in front of the wall-- it projects into the

  • spectator's space-- and that what lies behind it is

  • a kind of First Style wall.

  • This is the very beginnings of what we call Second Style Roman

  • wall painting: this introduction of columns;

  • this introduction of elements that project into the viewer's

  • space; this sense that you are looking

  • at two levels of space, the level of space that is the

  • wall, and then the level of space that projects in front of

  • it.

  • And look at the columns at the top of the columns.

  • You will see they hold lintels, but those lintels also are

  • shown as if they're receding into depth,

  • and you can sort of barely see--and you'll see this better

  • as you study this in the online images.

  • You'll be able to see the actual coffered ceiling that is

  • represented on the top, underneath those lintels,

  • which again indicate that this is being represented in depth.

  • And here you can see exactly what they're trying to do.

  • They're trying to use paint and only paint to recreate the sort

  • of thing that we saw in built architecture in the oecus

  • in the House of the Silver Wedding: these columns that

  • project in front of a painted wall.

  • This is the pièce desistance of what we

  • call Second Style Roman wall painting.

  • This is the preeminent example of mature Second Style Roman

  • wall painting.

  • It is a scene in the Villa of the Mysteries.

  • It's in one of the cubicula;

  • cubiculum 16, at the Villa of the Mysteries

  • in Pompeii.

  • It dates to 60 to 50 B.C.

  • It's a further development of what we saw in Room 2 of the

  • House of the Griffins.

  • We see the First Style wall is still present.

  • We see the plinth; we see the socle;

  • we see the orthostats; we see the isodomic blocks,

  • although they are done entirely in paint.

  • Again, no stucco here whatsoever.

  • We see the columns have also been added, as is typical of

  • Second Style.

  • But here the columns are even more interesting,

  • because we can see that the columns not only project from

  • the wall themselves, but they support an

  • entablature--e-n -t-a-b-l-a-t-u-r-e--

  • an entablature which projects out toward the spectator,

  • and they tried to make that look as if it recedes into

  • depth.

  • We see another set of columns here that support a straight

  • lintel.

  • But then look, the lintel arches up in the

  • center.

  • This is called an arculated lintel, an arculated lintel.

  • We have not seen an arculated lintel in built architecture.

  • This is very early, 60 to 50 B.C.

  • We are seeing it here.

  • Why are we seeing it here and why are we not seeing it in

  • built architecture is a very interesting issue and one we

  • could debate in the online forum.

  • We see that that First Style wall has been--oh,

  • and we also see columns that support one of these lintels,

  • with a coffered ceiling; the brown coffered ceiling up

  • at the uppermost part.

  • The First Style wall--this is a very complex painting and a very

  • interesting painting intellectually.

  • The First Style wall has been--it's there,

  • but it's been dropped down.

  • It's been dropped down, and now we can see something

  • that lies behind that First Style wall.

  • We see a view of this round structure, called a

  • tholos--t-h-o-l-o-s; a round tholos.

  • It's like the tholos that was at the top of the

  • Sanctuary of Fortuna Primigenia, at Palestrina.

  • It's a shrine of some sort, and that shrine is surrounded

  • by blue sky.

  • So that's something that's presumably outside.

  • So the First Style wall has been dropped down,

  • and now we have this vista or panorama of something that lies

  • outside the wall.

  • So we, in a sense, have three zones of space.

  • We have the columns that project into the spectator's

  • space.

  • We have the First Style, or what's left of the First

  • Style wall.

  • And then we see a view through the wall, to something that lies

  • beyond: a vista, a panorama, a window.

  • It's like opening up the wall as a window, to what lies

  • beyond.

  • It's fictive again, in the same way that First

  • Style wall painting was fictive.

  • It creates an illusion of something that is there,

  • that isn't really there.

  • And it coincides certainly with the kind of development we've

  • been tracing also in built architecture:

  • this opening up of the house; opening up of the windows;

  • opening up bay windows, to views that lie beyond.

  • There're also these mysterious things that are called,

  • that people usually refer to as "the black curtains"

  • in Second Style Roman wall painting.

  • You can see this black element that looks almost as if it were

  • a curtain that's been dropped down to reveal the scene that

  • lies beyond.

  • Because of this, and because of the columns,

  • the projecting columns, many scholars have suggested

  • that there's some relationship between this and theatrical

  • architecture-- theatrical architecture that

  • was probably stage sets and the like,

  • that were probably initially made out of wood,

  • that don't survive any longer--and that these may

  • imitate some of those stage sets,

  • and that this may be an actual curtain used in theatrical

  • performances.

  • But there are other ways to think about those black

  • curtains, so to speak,

  • and I think we don't have time to do that here now,

  • but we should definitely engage on that in the online forum.

  • Oh and I do want to say one last thing--

  • we're going to look at one more example of Second Style Roman

  • wall painting-- one thing, one distinction that

  • I want to make between the First and the Second Style is while

  • the First Style of Roman wall painting was a Greek import,

  • there is nothing like the Second Style,

  • as we've just described it, anywhere in Greek art.

  • The Second Style of Roman wall painting is without any question

  • a Roman innovation, and an extraordinary Roman

  • innovation at that, and one that is very closely

  • allied with developments in architecture,

  • as we've described them.

  • This is another example, the Villa of Publius Fannius

  • Sinistor: Second Style painting.

  • Dates to 50 to 40 B.C.

  • It was in that town of Boscoreale that I showed you on

  • the map before, between Herculaneum and

  • Pompeii, and it was removed from there at one point and made its

  • way to New York.

  • It is now in the Metropolitan, and has been for a long time,

  • in the Metropolitan Museum of Art;

  • it is usually referred to as The Met Cubiculum.

  • And if you haven't seen it, you should go down and see it.

  • It is most extraordinary.

  • They've tried to recreate--the paintings are all ancient--

  • but they've tried to recreate the ambience by putting a black

  • and white mosaic on the floor and giving us a nice,

  • comfortable, sort of, bed,

  • and a footstool over here, that are just the kind of thing

  • that you would've seen in that room,

  • although they don't actually belong.

  • And they've added a window and so on and so forth.

  • But the paintings are all genuine ancient paintings.

  • And what's amazing is we have the entire spread of the room.

  • And actually there are mirror images, the scenes are mirror

  • images of one another, across the two long walls.

  • I want to show you just a couple of details.

  • This is a detail from that room that shows a tholos seen

  • through columns.

  • Once again we see here--this is an example of Second Style,

  • but it's a little bit more developed here,

  • because you can see that the First Style wall has really been

  • dropped down now, and, in fact,

  • it doesn't even look like a First Style wall anymore,

  • it just looks like a red parapet with a green frieze and

  • a little cornice at the top.

  • But it doesn't really look like a First Style wall.

  • In fact, it looks like a wall with a gate that doesn't look

  • like there's any knob or anything like that;

  • so we kind of wonder, can we get into this?

  • Do we have to jump over it?

  • How do we get from here into what lies beyond?

  • We're not absolutely sure.

  • But we see a tholos once again, one of these sort of

  • sacred shrines.

  • And here you can see it is surrounded by a peristyle,

  • by columns: a peristyle just like one might find in a house,

  • or in a villa.

  • So what are we looking at here?

  • We see columns that support a pediment.

  • The pediment if you look--a triangular pediment.

  • What's interesting about it is it's broken at the bottom.

  • The Greeks would never break their pediments.

  • The Romans have broken this pediment to allow space for the

  • tholos to rise up between it.

  • And it's a very interesting thing to do,

  • and it shows while on one hand they respect ancient Greek

  • architecture, they're also willing to depart

  • from it and break the rules, so to speak.

  • And we're going to see that's emphasized by the Romans later

  • on.

  • So the tholos here.

  • So we have these different elements.

  • We have the columns projecting toward us.

  • We have the wall of the gateway.

  • We also have this view through the window, a picture window,

  • into what lies beyond.

  • And we seem to have these black curtains again;

  • in fact, we have three of these black curtains.

  • So we ask ourselves again, what are those exactly?

  • Another view, just showing you this in

  • relationship to the House of the Faun, and this whole idea of

  • vista and panorama, from one part to another.

  • We see the same thing happening in painting as we see happening

  • in that.

  • And then one last detail of the Publius Fannius Met Cubiculum

  • over here.

  • A very interesting detail, and I urge you to explore this

  • on your own, because it's so fascinating in detail,

  • this doorway.

  • And then most interesting of all this panoply of structures

  • that seem to be piled, one on top of another,

  • in a series of stories.

  • This again is very early.

  • It's 50 to 40 B.C.

  • We don't see anything like that in built architecture then.

  • We only see second stories beginning to be added in

  • Pompeian structures, Herculaneum structures,

  • between the earthquake and Vesuvius,

  • between 62 and 79.

  • But here, already, in the mid-century B.C.,

  • we see this depicted in paint.

  • Is this fanciful?

  • Is it based on something that was built in wood that no longer

  • survives?

  • These are questions, perhaps unanswerable questions,

  • but ones well worth pondering.

  • I want to show you, in the few minutes that remain,

  • just two more houses, quickly.

  • One of them--both of them--are important though,

  • because they belong to the emperor and empress,

  • to Augustus and to Livia.

  • Augustus purchased some property on the Palatine Hill.

  • He wanted to live--as Rome's first emperor of Rome--he wanted

  • to live where Romulus had lived before him, of course.

  • And he buys some property up here, builds a house.

  • He puts a temple to his patron god, right next door,

  • Apollo, and then Livia has her own house right across the

  • street: his wife Livia.

  • She lives with him in his house, but she's also got her

  • own house right across the street.

  • And both of these houses were decorated with paintings.

  • I want to show you first the ones in the House of Augustus,

  • the most famous room in the House of Augustus,

  • called the Room of the Masks.

  • And here is where we see most clearly the possible

  • relationship between Roman wall painting of the Second Style--

  • because this is also Second Style Roman wall painting--

  • and the theater.

  • If you look at the restored view at the top,

  • of a typical theater façade,

  • as we think it would've looked--a theater stage

  • building, as we think it would have

  • looked early on; possibly made out of wood,

  • again, rather than stone--you can see it has a central section

  • with a pediment, and then it has two wings.

  • And we see the same scheme here: the central section,

  • which is called technically a regia in theater

  • architecture-- r-e-g-i-a--and then two wings

  • that are technically called hospitalia,

  • h-o-s-p-i-t-a-l-i-a; hospitalia.

  • So this tripartite scheme of a Roman theater.

  • And if that is lost on us, note that there are masks,

  • one on either side, theatrical masks that also give

  • us a hint that we are looking at a theater set.

  • Here's a more vivid view of one of the walls,

  • where you can see that tripartite division into central

  • section and two wings.

  • You can see the masks, and you can see a view into

  • some sort of landscape.

  • The sky is no longer blue, it's white, but it does

  • continue back beyond, behind the architecture.

  • So you get the sense that you're being beckoned into--in

  • fact, there's no barrier here at all.

  • The wall is gone here.

  • There's no gateway.

  • You can walk right in to this.

  • What is this?

  • There's no blue sky, so it doesn't look as real as

  • the others did.

  • It's not the sort of thing that might have been right outside

  • your window, of a house.

  • It's some kind of sacred landscape,

  • some kind of strange sacred landscape,

  • with a curved colonnade, with a tree,

  • and with a very phallic-looking shrine here in the center;

  • some kind of sacred space.

  • We call these sacro-idyllic landscapes: sort of idyllic and

  • sacred at the same time that you're being beckoned into to

  • explore.

  • Again, this is a stage set of some sort?

  • Or is it something else?

  • Is it something that has religious connotations?

  • The other interesting thing about the Room of the Masks in

  • the House of Augustus is that some scholars have claimed that,

  • although it is usually said that one-point linear

  • perspective, in which all lines converge at

  • a single point in the distance, was invented in the

  • Renaissance, a case can be made that it was invented in Roman

  • times.

  • And if it happened, it happened here in this house

  • where-- and scholars,

  • even of the Renaissance, have studied the way in which

  • these points converge in this painting,

  • all the way to a point at the end.

  • So if that's true, the Romans may have done that,

  • perhaps inadvertently, perhaps on purpose.

  • They were very interested in perspective.

  • I'll say a bit more about that in a moment.

  • But if they invented it here, they quickly rejected it,

  • as we're going to see in next week's lecture.

  • Just a couple of details: the mask and the beautiful way

  • in which this very talented artist,

  • probably one of the best artists of the day,

  • has built up this mask out of touches of grey and white and

  • black; an extraordinary thing.

  • And then again I really do urge you to look at these paintings

  • in detail, because if you do you will be very rewarded.

  • You'll see all kinds of strange creatures, like winged figures,

  • this very strange thing lurking up there.

  • Is that vegetal? Is it animal?

  • Is it human? What is that?

  • These wonderful, what look like swans,

  • golden swans that decorate this.

  • When you look very close, you can see there's a figural

  • frieze here.

  • And look at that wonderful representation of the fruit or

  • vegetables in a bowl, a bowl that is represented so

  • magnificently and translucently by the artist.

  • In the maybe three minutes or so that remain,

  • I want to show you one last painting,

  • and it's a very special painting indeed,

  • and I think it ties together everything that we've been

  • talking about today.

  • It is a painting from, not the House of Livia,

  • where there are some preserved paintings--

  • we're not going to look at those--but from a villa of

  • Livia, located north of Rome at a

  • place called Primaporta: the Villa of Livia at

  • Primaporta.

  • And it is in a sense the ultimate example and a very last

  • gasp of Second Style Roman wall painting.

  • The villa was put up in 30 to 25 B.C.

  • A barrel-vaulted room was decorated with this gardenscape.

  • Now as you look at this, you'd probably say to me:

  • "That doesn't look like anything we've looked at today.

  • There's no architecture there, there's no remnants of a First

  • Style wall.

  • There are no projecting columns.

  • There are no black curtains.

  • And so on and so forth.

  • It's very different from anything we've seen."

  • But we categorize this as a Second Style wall.

  • Why do we do that?

  • Because there's a division between where we stand as

  • spectator and the space that lies beyond the fence.

  • There is a fence that divides our space from the space that

  • lies outside, but it's a very delicate fence,

  • a white, kind of lattice fence,

  • not unlike the one we saw in the Samnite House on the second

  • story.

  • We don't have columns, we have trees,

  • a different kind of upright here.

  • But what connects this to the Second Style is that it is the

  • ultimate example of a Roman painting as a panoramic picture

  • window.

  • This is what they hoped you would see when you looked out of

  • the rooms of your house, of your great bay window in the

  • Villa of the Mysteries.

  • If you didn't see the sea, you would see some glorious

  • landscape, a gardenscape, outside of your window,

  • with beautiful trees.

  • If you look at these with care, you will see that this is an

  • artist who understood nature and observed it,

  • who knew the difference among the fruits that would be on

  • trees like this-- there are fruit trees here--

  • who had a sense of the way in which birds would alight on a

  • leaf, if they were headed toward one;

  • who had a sense of the way in which leaves would rustle in the

  • breeze; who had a sense of the way in

  • which light can fall differently on a leaf, so that you sometimes

  • see the lighted side or the side in shadow.

  • This is an artist who has really observed nature and has

  • depicted what he saw.

  • And here are a couple of details where you can see that

  • very well, of this tree.

  • You see what I mean by some leaves cast in shadows;

  • some leaves have light shining on them.

  • You get a sense of the breeze.

  • You get this wonderful way in which this black bird alights on

  • the edge of a leaf, this bird over here surveying

  • this piece of fruit, deciding whether he wants to

  • peck it or not.

  • This is very sophisticated stuff.

  • And you can also see, if you explore this painting a

  • bit more, that it has and that it

  • partakes of what we call today atmospheric perspective,

  • not one-point perspective, but atmospheric perspective.

  • What is atmospheric perspective?

  • If you look at this carefully, you will see that all of the

  • items that are in--all the objects that are in the

  • foreground have very distinct outlines;

  • whereas those in the middle ground are a little fuzzier;

  • and those way in the background are fuzzier still.

  • And there are actually--you probably could barely see them--

  • but there are actually mountains in the distance,

  • and those mountains in the distance are so fuzzy in their

  • silhouette that you can barely see them.

  • But you get this sense of space, of moving back,

  • because of this use of atmospheric perspective.

  • So this, the ultimate Roman painting,

  • Second Style, the Roman painting as panorama,

  • that again corresponds so well to all the discussions we've

  • been having the last couple of lectures of this move towards

  • increased vista, increased panorama,

  • both in painting and also in architecture.

  • Thanks guys.

Prof: Good morning.

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6.ヘルクラネウムの生息地と初期ローマ時代の室内装飾 (6. Habitats at Herculaneum and Early Roman Interior Decoration)

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