At Boscoreale, the walls dissolve into elaborate displays of illusionist architecture and realms of fantasy. Objects of daily life are depicted in such a way as to seem real, with metal and glass vases on shelves, and tables appearing to project out from the wall. Throughout the villa there are visual ambiguities to tease the eye, painted masonry, pillars, and columns that cast shadows into the viewer’s space, and more conventional trompe l’oeil devices. Fannius Synistor at Boscoreale is an exceptional example of the fully mature Second Style ( 03.14.4). In place of stucco architectural details, they used flat plaster on which projection and recession were suggested entirely by shading and perspective as the style progressed, forms grew more complex. The Second Style ( 03.14.13a-g) in Roman wall painting emerged in the early first century B.C., during which time fresco artists imitated architectural forms purely by pictorial means. Going beyond the simple representation of costlier building materials, artists began to borrow from the figural repertoire of Hellenistic wall painting, depicting gods, mortals, and heroes in various contexts. The decline of the First Style coincided with the Roman colonization of Pompeii in 80 B.C., which transformed what had essentially been an Italic town with Greek influences into a Roman city.
Typically, the wall was divided into three horizontal, painted zones crowned with a stucco cornice of dentils based upon the Doric architectural order.
Artists of the late Republican period (second to first century B.C.) drew upon examples of early Hellenistic (late fourth to third century B.C.) painting and architecture in order to simulate masonry. 200–60 B.C.) was largely an exploration of simulating marble of various colors and types on painted plaster. Frescoes from the villas at Boscoreale and Boscotrecase provide an unparalleled record of the life of wealthy Romans during this period.Īrt historians and archaeologists describe the development of Roman painting in four styles. As so often happens in archaeology, a disaster served to freeze a moment in the past, allowing excavators to delve into the life of this region’s ancient inhabitants. It is here that Mount Vesuvius erupted on August 24, 79 A.D., burying much of the countryside, the cities of Pompeii and Herculaneum, and nearby private residences. The majority of Roman frescoes were found in Campania, in the region around the Bay of Naples. Roman artists specializing in fresco most likely traveled with copybooks that reproduced popular paintings, as well as decorative patterns. It is also reasonable to suppose that Roman panel paintings, which included both original creations and adaptations of renowned Hellenistic works, were the prototypes for the myths depicted in fresco.
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According to Pliny, it was Studius “who first instituted that most delightful technique of painting walls with representations of villas, porticos and landscape gardens, woods, groves, hills, pools, channels, rivers, and coastlines.” Despite the lack of physical evidence, we can assume that many portable paintings depicted subjects similar to those found on the painted walls in Roman villas. Although ancient literary references inform us of Roman paintings on wood, ivory, and other materials, works that have survived are in the durable medium of fresco that was used to adorn the interiors of private homes in Roman cities and in the countryside. The history of Roman painting is essentially a history of wall paintings on plaster.
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