Pompeian murals fall into one of four styles of decoration, and I thought this would be a good point in the Pompeii Room project to stop and talk about them. I'll do an abbreviated description of the four styles, and then you can determine for yourself how my own mural would be characterized (bearing in mind that it's still a work in progress).
The earliest Pompeian murals were meant to appear as a rich masonry, though they were in fact faux granite and marble in stucco relief. The wall below was scored in three dimensions, and what remains of the trompe l'oeil marble is almost lost.
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| studyblue.com |
Below is another example of the First Style (also called Masonry Style).
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| www.accla.org |
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| Grand Illusions | Phaidon | Cass | Leighton | 1988 | |
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Above is a detail of a 1982 Art Deco wall by the great contemporary muralist, Richard Haas. Some of Pompeii's First Style surfaces probably looked a lot like Haas' rendition of marble.
The Second Style (also called Architectural or Illusionist Style) was an artisitic revolution. The Pompeian rooms, which usually did not receive a lot of light, were now painted to bring the outdoors inside, and to give the illusion of opened space. The home of P. Fannius Synistor (which is the inspiration for my own room) included a bedroom (
cubiculum) with an imaginary cityscape, below.
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| click to enlarge | Metropolitan Museum of Art Bulletin, spring, 2010 |
You can see a landscape in the background of Synistor's room, and some of the Second Style murals carried that one step further, with lovingly detailed gardens, like the one below.
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| click to enlarge | Pompeii: The Last Day | Wilkinson | 2003 |
An important element throughout the Second Style was trompe l'oeil details. Bowls of fruit, vases of flowers and musical instruments abounded. Below, the scroll, ink pot, wax tablets and piles of coins were a not-too-subtle reminder of the homeowner's education and wealth.
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| click to enlarge | The Art of Pompeii | Magagnini | de Luca |
Another facet of the Second Style was the depiction of monumental figures, and there's no better or more famous example than the Salon of Mysteries, in the Villa of the Mysteries, below.
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| sites.davidson.edu |
The Third Style (also called Ornate Style) was a reaction to the open vistas of the Second Style. The Pompeians were ready to reclaim and flatten most of the wall space that they had once opened up.
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| Pompeii | Coarelli | Riverside | 2002 |
Typical of the Third Style were pictures mounted on candelabra, small paintings centered on blank panels, and fantasy architectural details that were thin and elongated — all shown above.
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| click to enlarge | www.boundless.com | monm.edu |
Walls of the Third Style were often barer and more stylized than my first example, such as these two. In the Third Style, the colors red, black and deep yellow predominated.
The Fourth Style is the culmination of all the previous styles, and probably because so much of Pompeii was rebuilt after an earthquake in 62 A.D., it's the style most often found in Pompeii.
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| Pompeii | Coarelli | Riverside | 2002 |
The Fourth Style incorporated all three previous styles. Walls were usually divided into three or five panels of flat colors, but some vistas opened up, revealing fantasy architecture with elongated forms. Both of these handsome rooms are from the House of the Vetti, and in the bottom room you can see a wainscoting that's a nod to the First Style.
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| Pompeii | Coarelli | Riverside | 2002 |
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