ROMAN

PAINTING
ROGER LING
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XIVA Bust of Mercury. Pompeii V4, a (House of M. Lucretius
Fronto). Bedroom 6, west wall (right). c. A.D. 4o-5o. Diam. 2.2. em.
XIVB Portrait of Menander. Pompeii I 10, 4 (House of the
Menander). Exedra 2.3, left wall. T hird quarter of ISt century A. D.
H. 1.08 m.
XIVC Cupids engaged in perfume-making and selling. Pompeii Vl15, 1 (House of the Vettii). Oect1s q. Soon after A.D. 62.
XVA Heroine from Greek legend (Agave?) . Detail of
wall-decoration from Magdalensburg, ncar Klagenfurt,
Austria. Late I St century n.c. or beginning of ISt century
A.D. Karnten, Landesmuseum.
XVC White gorgoneion. Avenches (Switzerland), from insula 18,
red recus. Mid 1st century A.D. Roman Museum.
XVD Panel containing portrait of Socrates. Ephesus H 2./ 7 and
14a (Room of the Muses). Second half of 1St century A.D.
/
XVB Vegetal 'column' growing from a wine-cup. Fragments of
plaster from villa at Commugny, Switzerland. First half of 1st
century A.D. Nyon, Roman Museum. H. approx. 32. em.
Technique
230 Painters' cquipmcm from tomb ncar Fontcnay-lc-Comrc (Vendee, France).
231 Grave-goods includ ing pigment-pots (front left ), from tomb at Nida-Hcddcrnhcim. Frankfurt,
Museum for Prehistory and Early History.
210
Painting
232 Paintrcss at work, from Pompeii VI r, ro Mid rst century A.D. Naples, Archaeological
Museum 9018. H. 32 em.
used for finer work (in late medieval and Renaissance times,
in addition to pigs' bristles, we hear of brushes made of
squi rrels' tails, badgers' hair and miniver). No doubt the
brushes came in different sizes; a broad one would be used
for large coloured surfaces, and narrower ones for more
detai led work. No brushes complete with bristles have
t urned up in archaeological deposits; but brush handles of
bone have been recognised, fo r instance, among the effects
of a Roman tomb at St-Medard-des-Pres near Fontenay-le-
Comte in France. The same tomb, while containing imple-
ments which were obviously used by a painter of wooden
panels rather than of walls, gives a glimpse of the remaining
apparatus which a wall-painter would have needed [230):
glass bottles containing pigments, palettes, a paint-box, a
mortar and rubbing-stones for grinding colours, knives,
bronze scoops and so forth. Other tombs, at Herne-St-
2 ll
Hubert near Tongres, Belgium, and at Nida-Heddernheirn
in the suburbs of Frankfurt, Germany, have yielded sets
of cylindrical paint-pots [231 ], while artistic represen-
tations of easel-painters from Pompeii and elsewhere show
further examples of pai nt-boxes [232). From archaeologi-
cal sites where decoration was in progress we have
examples of the rather more rough and ready containers
pressed into service by wall-painters 'on the job'. These
include standard drinking-beakers, the broken-off bases of
cooking-pots, and potsherds or oyster-shells used as pal-
ettes. In addition to all these items associated with the
application of the paint we must not forget the implements
that would have been needed to lay out the decorative
scheme, such as a chalk-line, plumb-bob, rules and compas-
ses, and the pointed implements employed to score guide-
lines and to incise prel iminary sketches in the plaster.
SOURCES OF ILLUSTRATIONS
DAI = Deutsches Archaologisches Insti t ut DAIR = Deursches Archiiologisches Institut, Romische Abteil ung
ICCD = lstituto Centrale per il Catalogo e Ia Documentalione, Rome
Colour photographs
lA. Mau 1882., pl. 11b
lB. Ede Marc
IIA. E. de Mare
liB. E. de Marc
IliA. E. de Mare
IIIB. B. Bini
IVA. DAIR F 82. .427
IVB. DAIR F 82-457
VA. Mau 1882, pl. XII
VB. Mau 1882, pl. XVI
VC. F. and F. Niccolini, Le case ed i mommtenti di Pompei (1854-
96), IV, part 2, pl. XVI
VIA. BBC Open University Production Centre (D. Amy)
VIB. BBC Open University Production Centre (D. Amy)
VIl A. L.A. Ling
VIIB. Pompeii Research Committee (D. Griffiths)
VIIC. BBC Open University Production Centre (D. Amy)
VIllA. BBC Open University Production Centre (D. Amy)
VIIIB. BBC Open University Product ion Centre (D. Amy)
IXA. E. de Mare
IXB. E. de Mare
IXC. W. Swaan
XA. W. Swaan
XB. DAIR F 87.84
XlA. BBC Open University Production Centre (D. Amy)
XIB. W. Swaan
XI C. Pompeii Research Committee (D. Griffit hs)
XII A. BBC Open University Production Centre (D. Amy)
XIIB. V. P. International Ltd
XIII A. BBC Open University Production Centre (D. Amy)
XII lB. BBC Open University Production Centre (D. Amy)
XIVA. BBC Open University Production Centre (D. Amy)
XIVB. E. de Mare
XIVC. BBC Open Universit y Producti on Centre (D. Amy)
XVA. Landesmuseum, Kiirnt en (U. P. Schwa rz)
XVB. Nyon Museums (A. Moccia)
XVC. Musee Romain, Avenches (A. R. Glauser)
XVD. V. M. Strocka
XVIA. R. Hudson
XVIB. BischoAiches Museum, T rier
XVIC. BischoAiches Museum, Trier
XVID. BischoAiches Museum, Trier
237
Black and white illustrations
1. DAIR 58.1447
2.. M. Skiadaresi, Athens
3 Anderson 4II56
4 DAIR 65.2.86o
5. L. von Matt
6. DAIR 34. 192.9
7 M. Bulard, Peintures murales et mosai"ques de Delos (1914),
pl. VIa
8. Drawing R. J. Ling, after A. Laidlaw
9 Drawing R. J. Ling, after A. Laidlaw and K. Sarring
10. J. Felbermeyer, courtesy A. Laidlaw
11. Mau 1882., pl. 11a
12.. DAIR 31.2.7Io, detail
IJ. A. Laidlaw P75.2..37A
14. A. A. Parland, K'lstorii Arkhitektumoi Dekoratsii v /talii
(19I J), fig. 16
I). R. J. Ling 79/ 8
16. A. Laidlaw P7577-8
q. B. Bini, courtesy A. Laidlaw
18. R. J. Ling I 5/ 3
19. M. Bulard, Peintures murales et mosaiques de Delos (1908),
pl. VIAa
2.0. DAIR 66.1
2.1. DAIR 66.2.08
2.2.. J. Engemann
2. 3. J. Engemann
2.4. Catholic University, Nij megen (P. Bersch and H. van de Sluis)
82.32.
2.5 . A. Bar bet
2.6. E. Hyman and P. Chorley 457-A
2. 7. F. Barnabei, La villa pompeimta di P. Famrio Sinistore (1901)
2.8. Met ropoli tan Museum of Art, New York 163384-6 B
2. 9. R.j.Ling79/ 4
30. Spinazzola 1953, pl. XX
31. Drawing W. Klinkert: photo DAIR 54.1017
32.. Mau 1882., pl. v11b
33 DAIR 66.2.3
34 DAIR 66.2.9
35 lstituto Centrale peril Restauro, Rome 637
36. Alinari 2.8105
37 DAIR 82..2.154
38. G. E. Rizzo, Le pitture dell' Aula lsiaca di Caligola (1936),
pl. 11.1
Sources of illustrations
39 Archaeological Institute, University of ~ i d c n
40. Anderson 2.936
41. lstituto Cenrrale peril Restauro, Ro me 2.4 )O
42.. R. J . Ling u l nA
43 Soprintendenza Archeologica, Pompeii C 832.
44 DAIR 82..2.164
45 Drawing L. A. Ling, after G. Caretto ni , Das Haus des
AuF,ttsltts auf dem l'alatin (198)), fig. 16
46. Anderson 2.519
47 A. Barber 79/92./ 3
48. Soprinrendenza Archeologica, Pompeii C l!OJ
49 R. j. Ling 35/3A
50. Catholi c University, Nijrnegen (P. Bersch a nd II. van de Sluis)
51. Anderson 26435
52. DAIR
5
6.12.2
3
53 Mau 1882., pl. vm
54 Metropolitan Muscum of Art, New York 2.41 553 B
55 DAIR 59'972
56. DAI Berlin (P. Grunwald) 833557
57 1' . a nd F. Niccolini, Le case ed i momtlllellli di Pompei (1854-
96), IV, part 2., pl. X
58. DAIR 66.1783
59 Mau 1882., pl. XIV
6o. Drawi ng in German Archaeological Institute, Rome: DAIR
70.1472.
61. DAIR 64.2.2.49
62.. R. J. Ling 5/ 33
63. Drawing L.A. Ling, after A. Barber
64. A. Ba rber 76157/ 10
65. A. Barber 8o/4:z./10
66. DAIR 76.3
67. DAIR 64.226o
68. Drawing L.A. Ling, after A. Ba rber
69. Drawing R. J. Ling, after A. Barber
70. DAIR 64.2314
71. Soprintendenza Archcologica, Pompeii C 2.31
72. . F. P.M. l'rancissen
73 Catholic University, Nijmegen (P. Bersch and R. Gras)
74 ICCD N 37017
75. A. Suzuki
76. DAI Berlin (P. Grunwald) 75.3.189
77 N. Ponce, Descriptio11 des Bai11s de Titus (1786), pl. 2.5
78. Fototeca Unione (American Academy in Rome) 32.95 F
79 Alinari 11982.
Ho. Anderson 24874
81. Andcrson 2.6468
82. DAIIl 32. r689
83 . Anderson 2.6396 = DAIR W 366
84. Alinari 43165
X5. DAIR 56.1256
86. DAIR 56.1 1.09
87. DAIR .;8.572.
88. Brogi 6534
89. R. j. Ling 70/2.6
90. DAIR 59.20 19
9 1. Sopri ntendenza Archcologica, Rome (Forum and Palatine)
C47
92. Soprintendenza Archeologica, Rome (Forum and Palatine)
C467
93 DAIR 64.2291
9+ ICCD E 54520
95 N. Ponce, Descriptio11 des Bai11s de Titus ( 1786), pl. 5
96. Drawing J. -P. Adam
97 DAIR 56.1277
98. ICCD E 57501
99 Fototeca Unione (American Academy in Rome) 32.9 F
100. R. j. Ling 6/ 33
101. DAIR 72..1712.
102.. DAIR 71 490
103. A. Barber 77/ 66/ 8
104. E. Hyman a nd P. Chorley
105 . W. Swaan
1o6. Metropolitan Museum of Art, New York 163405 B
107. Met ropolitan Museum of Art, New York 152.359 B
wX. Alinari 38033
109. Ali nari 38031
110. Alinari 38030
1 T 1. Alinari 380)2
1 1 2.. Parker 3309, courtesy British School at Rome
''3 Drawing by A. Sikkard: DAIR 61.2.99
"4 Anderson 2.8840
11 5 Metropolitan Museum of Art, New York 2.42251 B
116. DAIR 66.1791
"7 DAIR 64.2.2.51
l!8. Drawing by G. Discanno: DAIR 53.507
I 19. DAIR 62. .1478
12.0. British Museum I B 33
121. DAIR 58.12.05
12.2. Anderson '-3439
12.3. Alinari 12.011
''-4 Anderson 23474
125. R. J . Ling 45/ ll
126. Anderson 1. 3468
12.7. Alinari 12.003
12.8. Anderson 23477
12.9. DAIR 35. 1887
IJO. DAIR JI.2. 76X
131. Alinari 4Jl79
1 32.. Brogi 6 546
133. Brogi 6559
134. Anderson 1.3464
' 35 DAIR 68.272
q 6. R. j. Ling 45/ 3
137. Anderson 23409
138. Brogi 6536
139. Alinari 12.02.1
140. Anderson 2.3453
141. Ali nar i 12.02.3
142.. British Museum IX[) 42.
'4J Anderson 23475
144. Anderson 2.3634
'45 Brogi 1J2.89
146. DAIR 35 . 1886
'47 DAIR 62..1477
148. Catholic University, Nijmcgcn (I'. Bersch and H. van d e Sluis)
'49 ICCD N 47964
so. ICCD E 48635
151. Anderson 40809
152. Metropoli tan Moseum of Art, New York 2.41546 B
'53 DAIR 59.1992
154- Soprintcndcnza Archeologica, Naples A 6303
155. Anderson 2672 3
156. ICCD E 5.1464
1 57 DAI Berlin (I'. Grunwald) RM X!!
158. Anderson 40855
'59 Archaeological Inst itute, Uni vers ity of l.eidcn
2&
Sources of illustrations
160. E. Presuhn, Pompeji. Die 11eueste11 AusgrabtmF,ell 11011 1874
his 1878 (2.11d edn, 1882.), parr 3 pl. VI: DAIR W 66
161. Drawing by A. Mauri: DAIR 73.2.392.
162. . DAIR 60.2.387
163. R. J. Ling 83hoA
164. Anderson 40814
165. DAI Berlin (P. Grunwald)
166. DAI R
5
6.1202
167. Soprintcndenza Archeologica, Naples A 13509
168. DAIR 56.465
169. L. von Matt
170. Soprintcndenza Archcologica, Naples A 2819
171. Alinari 1935
172. R. J. Ling 83/ IIA
173 Anderson 2.3415
174 Soprimcndcnza Archeologica, Naples
' 75 Soprintendenza Archeologica, Naples A 491 3
176. Soprimendenza Archcologica, Naples
177. Soprimendenza Archeologica, Naples C 364
178. Brogi ITJ07
179. Alinari 12.142a
rRo. Soprinrendenza Archeologica, Milan D 2.354
181. Y. Yadin
182. Landesmuscum, Kii rnten (U. P. Schwarz)
183. R. Bcrsicr, Fribourg
184. M. and R. Sabric
185. A. Barber 81/ 2.2/ 5
186. Rheinisches Bilda rchiv T 47766
187. Rheinisches Bildarch iv 143760
1R8. L. Abad Casal
189. RomMitt 34 (r919), pl.' rop
190. Riparti zionc X del Comune di Roma (Anriquarium
Comunale)
191. ICCD E 40949
192.. ICCD E 40696
' 93 Austrian Archaeologicallnsrirute, Vienna
94 DAIR 8T.J02.8
195. Drawing R. J. Ling, after E. and G. Paparatti
196. Fotot eca Unione (American Academy in Rome) 61 82. F
97 DAIR 61.1847
198. A. Barber 8III8/ 10
2}9
199. Direction Generale des Anriquitcs, Lebanon
2.00. DAI Cairo F 6865/ 66
2.01. Fototeca Unionc (American Academy in Rome) 5965 F
2.02.. Centre Camille Jullian, University of Provence, CNRS (G.
Reveillac) 48.795
203. lst ituto Centrale peril Restauro 740
204. Pontificia Commissionc di Archcologia Sacra Lat. D 16
2.05. Pomificia Commissione di Archeologia Sacra Seb. L 14
2.o6. Pontificia Commissione di Archeologia Sacra LauE 40
2.07. Service Archeologique de l'ribourg
2.08. C. Vibcrt -Guiguc
209. DAIR 61.2166
2. 10. Musee Romain, Avenchcs (M. ruchs)
211. Austrian Archaeological Insti t ute, Vienna
212. DAIR 31. 2896
213. lst ituto Centrale per il Resra uro 5732.
214. DAIR 77.113
215. Fotoreca Unionc (American Academy in Rome) 5235 F
2.16. A. Barber
2. 17. R. J. Ling 73fi4A
2.18. Drawing R. j. Ling, after L. Jacobi, Das Romerkaste/1
Saalburg (1897)
2.19. H. Bliimner, Tech11ologie tmd Termi11ologie der Gewerbe
tmd Kii11ste bei Grieche11 u11d Romem111 ( 1884), fig. 23
1.2.0. Drawing R. j. Ling, after RdA 34 (1949), 149, fig. 8
2.2.1. S. Gregory
21.2. . C. Allag
2.2.3. C. Allag
2.24- DAI Berlin (P. Grunwald) 82..2. . 136
225. R. ]. Ling 79/ 6
2.2.6. A. Barber 84/2.7/ 1
2.2.7. ICCD N 45285
2.2.8. DAIR 64.2300
22.9. ICCD N 6ri2.o
2.30. Drawing R. J. Ling, after Ritter
2.31. Museum fi.i r Vor- und Friihgeschi chte, Frankfurt
232. Soprintendenza Archeologica, Naples C 413
2.33. DAI R 74.122.7
234. Drawing J.-P. Adam
2.}5 Soprintcndenza Archeologica, Naples 5027, ex 1195
2.36. E. de Marc
ND 120 . c 2
Maiuri' Amedee, 1886-1963.
Roman p a i n t i n g
REED USRARY
PORTLAND, OREGON
The colorplate on the title-page: Tavern Scene, Pompeii.
Translated by Stuart Gilbert.
PRim'ED IN SWITZERLAND
THE GREAT CENTURIES OF PAINTING
ROMAN PAINTING
TEXT BY AMEDEO MAIURI
Curator of the Naples Museum
SKIRA
ketchiness of the drawing or its seeming inability to reach the level of" high art."
. frankly popular works, in which the technique shows signs of carelessness, have
jginality that is far to seek in works of the traditionalist school. Indeed it was
{S to the regenerating influence of this popular art that Campanian mural
:ing did not lose its vigor and lapse into a frigid, tedious reiteration of traditional
,ositional schemes and motifs that had lost all spiritual or cultural purport. Nor
we forget how much the early Christian art of the catacombs owed to it.
3o varied was the range of subjects covered by this popular painting, as compared
other types of art, that it was, naturally enough, in great demand at all social
5. Sometimes it was of a religious order and associated with public or private acts
:votion (as in the numerous paintings found in lararia), or else with exotic religions,
as the cult of Isis, imported from abroad. Sometimes it illustrates the daily
enings in the Forum; or else such more spectacular occasions as the games and
)ats with wild beasts that took place in the great arena. Or, again, it has for its
tesome such outstanding incident in the life of the city as the pitched battle between
?ompeians and the Nucerians in the Amphitheater. Nor must the fact (alluded to in
ious chapters) that already in the iconographic painting we find Campanian as well
Iellenistic influences at work, be overlooked in this connection. Thus we see
"ts of quite humble citizens painted with a realism very different from that
honorific portraits in bronze or marble. Then, again, we have popular, colorful
of ancient myths and legends, and, at the end of the scale, paintings that
kly caricatures, products of the same vis comica as that which impelled the
in the street to take out his stilus and trace on the plaster walls of houses quaint
of people who had caught his eye. In these sketches we see the typical gestures,
.. m .. nT and attitudes of the Campanians who thronged the markets, streets and
of their native cities - and they were uncommonly like the crowds we see today
older quarters of Naples.
the popular painter felt under no obligation to confine himself to the well-
themes of classical antiquity; on the contrary he put his talent to the service
him, everyday reality. And, naturally enough, he found that it was
rap1d brushstrokes and small patches of color that he best could get the
and expressive vigor he was aiming at.
characteristic of this art can be seen in some pictures of horses
burden, animals far more suited for heavy work than for figuring in
. or as steeds for the immortal heroes. On a panel (one of a set
falls. mto two parts perhaps rather arbitrarily linked together, we see
a a big mule with a pack on its back, which a man is holding
reddish-brown of its body is diversified by streaks of a
On the harness and accentuating the spirited drawing of
other side is a group of horses and riders to which the
, dd ,
a s a remarkable vivacity. On another panel of the
lllule also laden "th "t .
W1 1 s pack; 1t has very long, thin, wiry
legs and is jerking up its head, as if wanting to display its ornate head-stall to the
best effect. Indeed so sprightly is the artist's rendering of the mule that we hardly
notice the human figures near it.
In another picture, however, also a street scene, it is on the figures that our interest is
focused. There are two women, one with a rather matronly air, in a tunic and dark
cloak, and with her another woman so humble-looking that she seems inferior even
to a servant, while facing them is a bearded old man with a bent back, leaning on a
stick, who is accompanied by a dog on a lead: the typical beggar of antiquity.
Particularly interesting among works of this kind is the group of pictures called
in Italy forensi, because they deal with Forum scenes. The big open square of the
Forum at Pompeii with buildings all around provided an effective setting for the
daily events of public life and the activities of the petty tradesfolk in their picturesque
shops and stalls. Limited as is their scope, the forensi on the walls of a private
house (the Villa of Julia Felix), obviously the work of the same artist, give us the most
valuable illustrations we possess of everyday life at Pompeii.
They cover a great variety of subjects : market-scenes, passers-by reading the
latest municipal regulations posted up between stately equestrian statues, an open-
air school with the teacher and pupils watching or taking part in the punishment of
a disobedient schoolboy. One of the liveliest scenes, none the less effective for being
treated sketch-wise, shows us the itinerant pedlars who hawked their wares in the
OPEN-AIR MARKET IN THE FORUM. FROM THE HOUSE OF JULIA FELIX, POMPEII.
143
ll.\1\ERY FRO
M POMPEII. MUSEO NAZIONALE, NAPLES.
DICE-PLAYERS. FROM POMPEII. MUSEO NAZIONALE, NAPLES.
145