Early Roman Domestic Decor
Decorative Styles of the Late Roman Republic and Early Empire
Identified by Augusto Mau in the late 19th century and still recognised today, there were four major decorative schemes used in elite Roman Republican and Imperial houses
From the second century BC until the late 1st century AD, four decorative styles dominated Roman domestic décor: First (Masonry/Incrustation Style), second (Architectural Style), Third (Ornamental Style) and Fourth (Fantastic/Illusionary Style.)
First Style: Masonry/Incrustation Style
In use predominantly between approximately 200 and 80 BC, the incrustation style used painted plaster to create illusions of the marble and alabaster slabs usually adorning palaces and public buildings. This imitation of palatial forms of décor represented the first expression of the desire of a rising elite class to affiliate themselves with the leaders of society by aping the decorative schemes associated with them.
Examples of first style décor can be found in the fauces of the Samnite house in Herculaneum and the House of the Faun in Pompeii.
These imitation marble panels were often accompanied by subtle architectural features. This architectural theme was to become more overt in the next decorative style.
Second Style: Architectural Style
Developed between 80 and 30 BC, second style décor took the use of emblems from palatial and public architecture a stage further. Colonnades, porticos and pediments were now used to create 3D illusions of perspective that enhanced the grandeur of rooms whilst acting as framing devices to draw attention to visual motifs. The result was a more complex and imaginative décor style that reflected the growing complexity of the social statements transmitted within the private domain.
There are two elements to the Architectural Style: one which framed a closed view, for instance in the Villa of Poppaea and the other which created the illusion of overlooking a vista beyond the bounds of the house. This vista was either a landscape or else composed of monumental figures, as in the famous tricilinium of the Villa of the Mysteries. Either way, the effect was to increase the scope of the house and therefore the standing of its owner.
Third Style: Ornamental Style
Despite its name, the ornamental style popular roughly between 30 BC and 45 AD was less dramatic and abandoned the use of architectural framing. Synonymous with the Augustan revival, this was a two dimensional style with a more restrained format. Typically, designs were flat, consisting of a plain painted panel of one colour, usually in red or black that framed a small central picture or figure. These panels would be delicately bordered with motifs of foliage, arabesques, candelabras, ribbons and masks.
However, elements of the second style were developed. The Arcadian vistas formerly framed by architecture in the second style were developed as stand alone pictorial representations of rural landscapes and gardens, often taking up whole walls.
Fourth Style: Fantastic/Illusionary Style
In use from 45 AD onwards, these styles are best exemplified in houses from the Bay of Naples, preserved after the eruption of Vesuvius. It is important to view these decorative styles not solely as chronological markers but also as statements of standing. Often, several styles survived together in one particular residence. The later, more complex styles (no doubt heavily influenced by the latest Roman fashion) replaced earlier schemes in rooms where an up to date social statement was required. Therefore, the decorative styles of the Bay of Naples not only chart changing fashions; they also further demonstrate the development of the language of status within the elite Roman house.
Architectural features of the second style and panelled vistas of the third are resurrected and combined with fantastical scenes and theatrical, mythological designs to create the most elaborate of the four schemes. Patchworks of coloured panels and theatrical scenes would be combined with stucco reliefs and edged with elaborate, eastern style borders.
The style is believed to have been inspired by the décor of Nero’s Golden House. For the bay of Naples’ houses, it represents the last example of the use of palatial inspired décor as a statement of status and wealth.
Sources
- D'Ambra, E, 1993, Roman Art in Context: An Anthology.
- Wilkinson, P, 2003, Pompeii: The Last Day, BBC Books.
- Pompeii: Archaeological Guide. Istituto Geografico de Agostini.
- Wallace Hadrill, A, 1994, Houses and society in Pompeii and Herculaneum, Princeton University Press: New Jersey.
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