Pompeii No.37: Painting the Legends

I thought it appropriate to label the roundel portraits (the last three of the Five Good Emperors), and so I cast about for a good label design to do them justice.

Here's how Michelangelo labeled each of the Sibyls in the Sistine Chapel. That's what I settled on, and as it turns out, my choice of colors is close to his as well.

This type of design is called "strapwork," because the shapes mimic the artful designs that leather and metal straps of Michelangelo's time featured. My blogging friend Theresa of Art's The Answer has posted extensively about strapwork, and you can read more about it at her site, here.

Below is the primary wall of the Pompeii Room, finished above the green bar. I'll be doing more work on the green and red areas a little later.

click to enlarge

Notice that the two roundel portraits on this wall balance the clipeus, or metal shield that hangs over the cityscape. Likewise, the bases of the muses balance the flowers and the white cloth behind them, in the identical stepped pattern. Finally, within the cityscape itself, the divided pediments in the background follow the stepped pattern as they relate to the foreground pediment.

I have one more element to add above Marcus Aurelius, and then we'll look at his wall, too. But first, I'll be sharing a Pompeian surprise that came my way recently. I hope you'll join me next week for that!

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Pompeii No.36: Last of the 5 Good Emperors

Marcus Aurelius  |  photo illustration, Mark D. Ruffner

In my last posting, I unveiled my Pompeii Room portrait of Emperor Antoninus Pius. Hadrian had named Antoninus Pius his successor on the condition that he would adopt the young Marcus Aurelius and also Lucius Verus (who was the son of Lucius Ceionius Commodus — Hadrian's first-chosen successor), and make them co-heirs. This Antoninus Pius faithfully did. His faithfulness to such a demand was one of the reason's the Romans called him "Pius."

the young Marcus Aurelius  |  mutualart.com

Marcus Aurelius (121-180 A.D.) displayed qualities from a very early age that made people think that he would be a fine choice to become emperor. He was born into an aristocratic family, yet at an early age embraced Stoicism, preferring to live so simply that he had to be persuaded to sleep in a bed rather than on the ground. He had a fine education, including lessons from Alexander of Cotiaeum, the leading Homeric scholar of the day, and Herodes Atticus and Fronto, the leading orators of the day.

After Antoninus Pius adopted him, Marcus Aurelius married the emperor's daughter, Faustina the Younger, who was — through his adoption — also his step-sister. Thereafter he was given high appointments at a very early age, though his quick ascent did nothing to change his good, studious character.

a bust of Lucius Verus from the Metropolitan  |  commonswikimedia.org

Upon Antoninus Pius' death in 161 A.D., Marcus Aurelius and Lucius Verus became co-emperors. The Senate was prepared to declare only Marcus Aurelius as emperor, but Marcus Aurelius insisted that Hadrian's plan of succession be fulfilled. It might have been a formula for disaster, except that Lucius Verus was outranked and perfectly happy to play second fiddle. He left Rome on several military campaigns, lived a life of debauchery, and died in 169 A.D.

Thereafter, Marcus Aurelius ruled alone until his death in 180 A.D. He is probably best remembered for his personal musings, Meditations, and for being the quintessential philosopher-king. Ironically, this scholarly emperor spent much of his reign away from Rome, fighting German tribes along the empire's borders.

Here's my portrait of Marcus Aurelius, in the style of Hadrian's and Antoninus Pius'. It hangs above the Muse of Painting, on the opposite wall.

I hope you'll join me next week when I add labels to these portraits, making use of a design by none other than Michelangelo.

See you then!

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