WEBVTT 00:00.130 --> 00:03.330 Prof: Good morning. 00:03.330 --> 00:06.090 As you can see from the title of today's lecture, 00:06.090 --> 00:09.980 "Habitats at Herculaneum and Early Roman Interior 00:09.981 --> 00:13.511 Decoration," we're going to be concentrating 00:13.505 --> 00:15.925 once again, at least in the first half of 00:15.927 --> 00:18.777 the lecture, on domestic architecture in 00:18.777 --> 00:19.607 Campania. 00:19.610 --> 00:23.520 We're going to look at several houses in Herculaneum, 00:23.520 --> 00:27.040 and then we're going to move from there to begin our 00:27.039 --> 00:30.419 discussion of early Roman interior decoration, 00:30.420 --> 00:34.490 namely the First and Second Styles of Roman wall painting. 00:34.490 --> 00:37.800 And what you'll see makes them particularly relevant to what 00:37.799 --> 00:41.109 we've been discussing thus far this term is the fact that in 00:41.108 --> 00:43.238 both the First and Second Styles, 00:43.240 --> 00:45.800 architecture is depicted in these paintings, 00:45.800 --> 00:49.440 and we're going to see some very interesting relationships 00:49.435 --> 00:52.815 between that and the built monuments that we've talked 00:52.815 --> 00:54.915 about thus far this semester. 00:54.920 --> 00:58.120 00:58.120 --> 01:01.360 Just to remind you of the location of Herculaneum, 01:01.362 --> 01:04.672 which is usually called the sister city of Pompeii, 01:04.671 --> 01:06.461 because of that locale. 01:06.459 --> 01:08.559 We see it on the map here. 01:08.560 --> 01:11.330 Pompeii is down in this location. 01:11.328 --> 01:16.038 Herculaneum is to the northeast of Pompeii, closer to Naples 01:16.037 --> 01:18.747 than Pompeii is, as you can see. 01:18.750 --> 01:22.730 And note also the city of Boscoreale, 01:22.730 --> 01:25.360 Boscoreale, which is located between, 01:25.360 --> 01:28.440 almost equidistant -- a little bit closer to Pompeii than 01:28.438 --> 01:30.818 Herculaneum -- but in between the two. 01:30.819 --> 01:34.819 And I point it out to you now because we're going to look at 01:34.816 --> 01:37.046 an important room, with paintings, 01:37.053 --> 01:40.173 from the city of Boscoreale today as well. 01:40.170 --> 01:44.110 Here you see a view, a Google Earth flyover, 01:44.105 --> 01:47.395 of Herculaneum, as it looks today. 01:47.400 --> 01:50.480 It's very helpful because you can see a couple of things here 01:50.480 --> 01:53.510 that I want you to keep in mind, as we look at this city. 01:53.510 --> 01:57.630 One, that although most of the city of Pompeii has been 01:57.628 --> 02:00.248 excavated, only about a quarter or 02:00.245 --> 02:04.055 twenty-five percent of the city of Herculaneum has been 02:04.061 --> 02:04.981 excavated. 02:04.980 --> 02:08.170 So we have much less at Herculaneum than we do for 02:08.168 --> 02:11.418 Pompeii, and what we're missing, for the most part, 02:11.421 --> 02:13.441 is the public architecture. 02:13.438 --> 02:16.518 We don't have a great amphitheater from Herculaneum. 02:16.520 --> 02:20.020 We don't have a theater and a music hall complex. 02:20.020 --> 02:23.360 We think we might have part of the basilica, 02:23.361 --> 02:25.851 but we're not absolutely sure. 02:25.848 --> 02:29.428 We don't have the great large forum space that we have in 02:29.430 --> 02:30.070 Pompeii. 02:30.068 --> 02:33.288 So we're missing a lot of that public architecture at 02:33.289 --> 02:35.819 Herculaneum, which gives us less of a sense 02:35.818 --> 02:37.898 of what the city was originally like, 02:37.900 --> 02:41.310 at least in its public face, although there's no doubt that 02:41.312 --> 02:44.022 that material still lies beneath the ground. 02:44.020 --> 02:46.790 So we have only a quarter of the city, mostly the residential 02:46.792 --> 02:49.012 part of the city, or part of the residential part 02:49.009 --> 02:49.749 of the city. 02:49.750 --> 02:53.980 But there are several houses there that are extremely-- 02:53.979 --> 02:59.289 give us, provide information, especially about what was going 02:59.293 --> 03:04.433 on between the earthquake and the eruption of Vesuvius, 03:04.430 --> 03:08.630 62 to 79, that are extremely valuable in terms of giving us a 03:08.628 --> 03:12.968 sense again of the evolution of Roman domestic architecture. 03:12.968 --> 03:16.648 The other issue that this particular view raises is the 03:16.651 --> 03:20.881 reason why Herculaneum is less well excavated than Pompeii, 03:20.878 --> 03:23.858 and the reason for that has to do--and you can see it well 03:23.860 --> 03:25.920 here-- has to do with the fact that 03:25.920 --> 03:28.970 the modern city grew up on top of the ancient city. 03:28.970 --> 03:32.350 And they were able at one point to clear part of it, 03:32.348 --> 03:35.328 for excavation, but they have not been able to 03:35.330 --> 03:36.590 clear the rest. 03:36.590 --> 03:39.110 It's a political nightmare to have to deal-- 03:39.110 --> 03:42.420 you have to relocate all the people who live in this area and 03:42.418 --> 03:45.008 have lived in this area for a very long time. 03:45.008 --> 03:47.288 That's politically a very difficult thing to do. 03:47.289 --> 03:48.999 It also is extremely costly. 03:49.000 --> 03:53.210 So thus far only twenty-five percent of Herculaneum revealed. 03:53.210 --> 03:57.050 Let's all hope that at some point someday Italy can sort 03:57.050 --> 04:00.610 this out and find a way to excavate the rest of this 04:00.612 --> 04:02.222 extraordinary city. 04:02.218 --> 04:06.238 You can see from this view that I took as--this is one of the 04:06.235 --> 04:10.315 views that you get as you enter the site, the current location 04:10.319 --> 04:10.989 today. 04:10.990 --> 04:14.300 But I think you can see very well here again what I'm talking 04:14.300 --> 04:17.170 about: the relationship between the ancient city, 04:17.170 --> 04:19.900 lower ground level, that has been unearthed through 04:19.899 --> 04:20.609 excavation. 04:20.610 --> 04:23.980 You can see a peristyle court of one of the houses here, 04:23.980 --> 04:24.840 for example. 04:24.839 --> 04:29.319 But you can see the way in which the modern city rings the 04:29.321 --> 04:32.011 site, and again what a challenge it 04:32.012 --> 04:36.282 would be to remove that modern city and to reveal the rest of 04:36.281 --> 04:37.351 Herculaneum. 04:37.350 --> 04:40.490 Here's another view where you can also see some of the remains 04:40.494 --> 04:43.964 of the ancient city, of these residences and so on, 04:43.959 --> 04:47.609 and their relationship to the rest of the town. 04:47.610 --> 04:51.370 With regard to the history of Herculaneum, it is very similar 04:51.372 --> 04:53.132 to the history of Pompeii. 04:53.129 --> 04:58.039 One difference is that the city of Herculaneum was supposedly 04:58.038 --> 05:02.128 founded by Hercules, hence its name Herculaneum. 05:02.129 --> 05:05.389 But in other respects the history again is quite 05:05.387 --> 05:06.287 comparable. 05:06.290 --> 05:09.690 We know, for example, that the city of Herculaneum 05:09.690 --> 05:13.790 was overseen for awhile by that same Italic tribe called the 05:13.786 --> 05:18.336 Oscans, who were then conquered by the 05:18.336 --> 05:21.466 Samnites, and the Samnites took over 05:21.466 --> 05:22.346 Herculaneum. 05:22.350 --> 05:26.030 And it was during the Samnite period in Herculaneum that we 05:26.026 --> 05:29.766 begin to see the same kind of architectural development that 05:29.767 --> 05:31.477 we saw also in Pompeii. 05:31.480 --> 05:34.000 We also know that those in Herculaneum, 05:34.000 --> 05:36.760 the citizens of Herculaneum, the leaders of Herculaneum, 05:36.759 --> 05:40.389 got involved in the Social Wars, as did those in Pompeii, 05:40.389 --> 05:44.849 and that the city of Herculaneum was conquered by 05:44.853 --> 05:48.043 Rome in 89 B.C., in 89 B.C. 05:48.040 --> 05:54.010 So Herculaneum becomes a Roman colony in 89 B.C. 05:54.009 --> 05:56.269 Thereafter we know--and of course at that point, 05:56.269 --> 05:58.379 just as in Pompeii, the Romans begin to build 05:58.384 --> 06:00.024 buildings in the Roman manner. 06:00.019 --> 06:03.909 From that point on we know again comparable development. 06:03.910 --> 06:08.250 We know that at Herculaneum they also witnessed that very 06:08.245 --> 06:11.705 serious earthquake, an earthquake that also 06:11.706 --> 06:16.056 destroyed significant parts of the city of Herculaneum, 06:16.060 --> 06:20.010 and they too went through that frenzied seventeen-year period 06:20.007 --> 06:21.057 of rebuilding. 06:21.060 --> 06:24.870 But again, just as at Pompeii, it was for naught, 06:24.870 --> 06:29.790 because the city of Herculaneum was also covered by the ash and 06:29.791 --> 06:31.461 lava of Vesuvius. 06:31.459 --> 06:36.019 However, there's one major difference that has to do with 06:36.021 --> 06:38.711 the way that ash and lava fell. 06:38.709 --> 06:42.629 We talked about the fact that at Pompeii there was actually 06:42.629 --> 06:47.339 quite a bit of notice, that the ash and lava came down 06:47.339 --> 06:51.669 on the city fairly gradually, and that there was time for 06:51.668 --> 06:54.068 people to escape, and that most of them did, 06:54.069 --> 06:57.139 except for those foolhardy souls who decided to wait it 06:57.144 --> 06:59.884 out, which we discussed a couple of 06:59.877 --> 07:00.937 lectures ago. 07:00.939 --> 07:04.359 But in Herculaneum, it happened much more rapidly, 07:04.360 --> 07:07.190 and in fact it became very clear, very quickly, 07:07.189 --> 07:11.669 that a huge blanket of lava was headed toward the city. 07:11.670 --> 07:15.560 And needless to say, that encouraged people to leave 07:15.557 --> 07:17.167 pronto, and we thought, 07:17.172 --> 07:20.002 at least for a very long time, that that's in fact what had 07:20.002 --> 07:23.162 happened, that everybody had escaped the 07:23.156 --> 07:25.266 onslaught of Vesuvius. 07:25.269 --> 07:30.259 What happened after that blanket of lava engulfed the 07:30.255 --> 07:34.375 city is it hermetically sealed the city, 07:34.379 --> 07:38.759 hermetically sealed the city, in such a way that materials 07:38.764 --> 07:43.614 that have been lost at Pompeii were preserved at Herculaneum. 07:43.610 --> 07:46.450 And the best example of that is wood. 07:46.449 --> 07:47.839 We have almost no wood. 07:47.839 --> 07:51.269 Wood is not a material that withstands the test of time 07:51.269 --> 07:54.129 terribly well, and we have almost no wood from 07:54.127 --> 07:54.887 Pompeii. 07:54.889 --> 07:57.209 But from the city of Herculaneum, we have a 07:57.214 --> 08:00.494 considerable amount of wood, and this just has to do with 08:00.494 --> 08:03.964 the fact again that the city was so hermetically sealed by that 08:03.958 --> 08:05.018 blanket of lava. 08:05.019 --> 08:08.519 And I can show you a few examples of what survives in 08:08.517 --> 08:08.987 wood. 08:08.990 --> 08:11.380 For example, this bed, or part of a bed, 08:11.377 --> 08:14.007 that's still preserved, as you can see here, 08:14.009 --> 08:15.539 with the wooden legs. 08:15.540 --> 08:19.450 A wooden partition in one of the houses, to divide one 08:19.452 --> 08:24.032 section, kind of like a modern pogo wall, to divide one section 08:24.028 --> 08:26.538 of the structure from another. 08:26.540 --> 08:30.800 You can see also the wooden frames around the doors and 08:30.802 --> 08:34.042 around the windows are also preserved, 08:34.038 --> 08:37.518 as are these wooden beams that you can see over the doorways 08:37.515 --> 08:41.095 and over the windows-- mostly over the doorways--those 08:41.100 --> 08:43.620 wooden beams also made out of wood. 08:43.620 --> 08:45.300 And this is the most famous example, 08:45.298 --> 08:48.068 and one that everybody sees as you wander the streets of 08:48.072 --> 08:50.782 Herculaneum, the Casa a Graticcio, 08:50.779 --> 08:54.169 which we see here -- and you can see that even the 08:54.172 --> 08:56.602 balcony, which is made out of wood, 08:56.602 --> 08:58.762 is extremely well preserved. 08:58.759 --> 09:02.289 So this provides evidence that we don't have from Pompeii 09:02.291 --> 09:05.821 that's extremely valuable in terms of understanding Roman 09:05.822 --> 09:07.212 building practice. 09:07.210 --> 09:11.350 I mentioned already though that we didn't think anyone-- 09:11.350 --> 09:15.790 we thought that all those who lived in Herculaneum had escaped 09:15.792 --> 09:18.972 from Vesuvius, but it turns out that was not 09:18.966 --> 09:20.166 in fact the case. 09:20.168 --> 09:25.818 As recently as the 1980s, some archaeologists were doing 09:25.822 --> 09:32.712 some excavating down at the sea wall of the city of Herculaneum, 09:32.710 --> 09:35.970 and lo and behold, they came upon a cache of 09:35.970 --> 09:36.880 skeletons. 09:36.879 --> 09:39.499 And I show you some of those skeletons here. 09:39.500 --> 09:42.760 And those skeletons are in the same kinds of positions as the 09:42.758 --> 09:46.278 bodies that we saw at Pompeii, in that clearly a number of 09:46.279 --> 09:49.099 them have huddled together for protection, 09:49.100 --> 09:51.580 futile protection as it turned out. 09:51.580 --> 09:56.340 And here another one who's raising himself or herself in an 09:56.342 --> 10:01.602 attempt to survive somehow this awful event that has occurred. 10:01.600 --> 10:05.010 We find these skeletons--and they found these skeletons near 10:05.014 --> 10:08.604 the sea wall, and what they've concluded from 10:08.599 --> 10:10.119 this, two things: one, 10:10.123 --> 10:13.533 again the difference in the lava that fell on Herculaneum. 10:13.528 --> 10:15.708 You can see that it not only preserved wood, 10:15.710 --> 10:19.450 it also preserved bone, which is why the skeletons are 10:19.447 --> 10:23.437 still visible here, whereas at Pompeii everything 10:23.443 --> 10:25.903 decomposed, at Pompeii. 10:25.899 --> 10:27.779 So the situation again quite different. 10:27.778 --> 10:30.838 But they've also been able to determine that what clearly 10:30.844 --> 10:33.854 happened here is again because there was so much notice, 10:33.854 --> 10:34.734 people fled. 10:34.730 --> 10:35.730 And where did they flee? 10:35.730 --> 10:39.060 They fled toward the water, because they were right on the 10:39.059 --> 10:40.949 sea, they had a lot of boats, 10:40.946 --> 10:44.386 and the hope was that they could ferry everybody out from 10:44.390 --> 10:45.130 the city. 10:45.129 --> 10:47.219 And for the most part they were successful, 10:47.220 --> 10:50.270 but there was a certain group that unfortunately got left 10:50.265 --> 10:52.845 behind, and it was their remains that 10:52.854 --> 10:54.974 were discovered in the 1980s. 10:54.970 --> 10:58.790 It's amazing what these bodies can tell us about some of the 10:58.787 --> 11:02.367 people who lived there, and I'll just give you a little 11:02.365 --> 11:04.625 sense of a couple of the storylines. 11:04.629 --> 11:09.129 Here is the skeleton of a woman, and you can see that this 11:09.133 --> 11:11.643 woman has-- if you look very closely at her 11:11.644 --> 11:14.464 left hand, two of her fingers--you can see 11:14.456 --> 11:17.196 she has rings on two of her fingers, 11:17.200 --> 11:20.380 and those are larger views of those very rings. 11:20.379 --> 11:23.769 Two rings with green and red stones. 11:23.769 --> 11:25.219 The red stone, you can see, 11:25.219 --> 11:27.169 has a little bird depicted on it. 11:27.169 --> 11:28.179 These were her rings. 11:28.178 --> 11:30.308 Consequently the archaeologists call her "the ring 11:30.307 --> 11:32.887 lady"; or it should be "the rings 11:32.889 --> 11:33.689 lady." 11:33.690 --> 11:35.820 But here she is with her two rings. 11:35.820 --> 11:38.410 And you can see that she also had, next to her side, 11:38.408 --> 11:42.848 these two absolutely gorgeous golden snake bracelets, 11:45.303 --> 11:49.083 that she obviously loved and took with her when she attempted 11:49.080 --> 11:50.780 to escape from the city. 11:50.779 --> 11:54.269 And an even more poignant story is this one. 11:54.269 --> 11:57.089 What we're looking at here is the head of a woman; 11:57.090 --> 12:01.090 a young woman, the excavators have determined. 12:01.090 --> 12:04.880 And if you look at the top of her head, you will see that a 12:04.875 --> 12:07.285 tuft of hair is actually preserved. 12:07.288 --> 12:10.248 It looks dark in this image but it's actually blond. 12:10.250 --> 12:13.370 So they've been able to determine this was a young, 12:13.365 --> 12:15.855 blond woman, who lived in Herculaneum. 12:15.860 --> 12:19.760 And you can see the small size of the skeleton below. 12:19.759 --> 12:22.959 This is not hers; it's obviously her fetus, 12:22.956 --> 12:23.916 the baby. 12:23.918 --> 12:27.588 She was seven months pregnant they've been able to determine, 12:27.592 --> 12:30.962 and so they have found the bones of the baby as well. 12:30.960 --> 12:32.540 And you can see them here and the excavators-- 12:32.538 --> 12:35.528 the excavation reports -- they talk about the fact that the 12:35.534 --> 12:37.384 bones of the baby, of the infant, 12:37.378 --> 12:40.848 of the unborn child, are so fragile that it was like 12:40.849 --> 12:45.599 picking up eggshells, when they were trying to piece 12:45.601 --> 12:48.051 this skeleton together. 12:48.048 --> 12:52.638 So it's incredible the kind of information that archaeologists 12:52.640 --> 12:56.400 have been able to glean from those trying to escape 12:56.404 --> 13:00.324 Herculaneum on that fateful day in August of 79. 13:00.320 --> 13:04.340 One other sad story is just that they did actually find the 13:04.344 --> 13:07.504 remains of one child-- this is sort of like the story 13:07.498 --> 13:10.998 of the dog at Pompeii-- one child whose remains were 13:11.004 --> 13:14.234 left in this little crib in one house. 13:14.230 --> 13:17.600 And again the bones are preserved, because of this 13:17.601 --> 13:21.661 circumstance of the particular configuration of the lava; 13:21.658 --> 13:26.578 the bones of that small child are also preserved in this crib 13:26.576 --> 13:29.686 in one of the houses in Herculaneum. 13:29.690 --> 13:36.080 To turn to the city itself, I show you now a plan of 13:36.080 --> 13:39.400 Herculaneum, or at least the excavated part 13:39.395 --> 13:42.345 of Herculaneum, that gives you some sense of 13:42.345 --> 13:43.485 what is there. 13:43.490 --> 13:47.110 And I've already mentioned that we simply won't see any big 13:47.109 --> 13:50.109 amphitheater in plan, or any major forum complex, 13:50.105 --> 13:51.785 and so on and so forth. 13:51.788 --> 13:55.198 We simply don't have that evidence in the excavated part. 13:55.200 --> 13:58.370 But what you do see is comparable to the residential 13:58.370 --> 13:59.490 area of Pompeii. 13:59.490 --> 14:03.390 You can see a series of major thoroughfares crossing with one 14:03.389 --> 14:04.039 another. 14:04.038 --> 14:05.968 We can't be sure, since we don't have the whole 14:05.972 --> 14:07.882 city, which is the main cardo 14:07.878 --> 14:10.648 and which is the main decumanus of the city, 14:10.649 --> 14:13.889 but they are certainly laid out at a quite regular pattern, 14:13.889 --> 14:18.709 with shops and houses interspersed with one another, 14:18.710 --> 14:24.440 as you can see extremely well here. 14:24.440 --> 14:26.340 Again, we don't, as far as we know, 14:26.339 --> 14:29.579 we really don't--well we're quite sure we don't have any of 14:29.577 --> 14:31.307 the major public buildings. 14:31.308 --> 14:35.068 But there are a couple of structures here and there that 14:35.067 --> 14:36.637 do tell us something. 14:36.639 --> 14:38.029 Here's an arch, for example, 14:38.028 --> 14:41.118 that may have been on one of the more important thoroughfares 14:41.115 --> 14:45.085 of the city, and we certainly have shops and 14:45.090 --> 14:47.490 the like along the way. 14:47.490 --> 14:52.930 And I can actually show you a few views of shops and the city 14:52.927 --> 14:56.797 streets and so on, that give you a good sense that 14:56.802 --> 14:59.922 Herculaneum was very similar looking to Pompeii. 14:59.918 --> 15:03.298 If you look at the street here--it's a street from the 15:03.302 --> 15:07.322 city of Herculaneum--you can see the same multi-sided stones for 15:07.323 --> 15:08.413 the pavement. 15:08.409 --> 15:09.689 You can see the same sidewalks. 15:09.690 --> 15:12.820 You can see the same drains in Herculaneum. 15:12.820 --> 15:14.020 You can see the same rut marks. 15:14.019 --> 15:16.549 What you don't see--and I started a post on this 15:16.549 --> 15:19.349 yesterday--what you don't see are stepping stones. 15:19.350 --> 15:22.100 There are no persevered stepping stones in Herculaneum. 15:22.100 --> 15:24.350 There are lots of preserved stepping stones in Pompeii. 15:24.350 --> 15:26.790 And I was mulling this over yesterday in a way, 15:26.788 --> 15:29.338 even beyond what I have tended to in the past about these 15:29.342 --> 15:31.852 stepping stones, thinking about could I think of 15:31.847 --> 15:35.017 any other examples in any other Roman city I've ever been, 15:35.019 --> 15:37.429 including Rome itself, where there's actually quite a 15:37.432 --> 15:39.522 bit of preserved pavement here and there -- 15:39.519 --> 15:42.209 out on the Via Appia, in the Roman Forum, 15:42.210 --> 15:43.310 and so on and so forth? 15:43.308 --> 15:46.048 And I can't think of a single other site, off the top of my 15:46.052 --> 15:47.852 head, where we find stepping stones. 15:47.850 --> 15:50.820 So I just put that out as a thought question for all of us, 15:50.820 --> 15:52.900 to see whether I'm missing something, 15:52.899 --> 15:55.999 or whether it's conceivable that Pompeii may have been 15:56.003 --> 15:59.293 exceptional in this regard, rather than the norm. 15:59.288 --> 16:02.688 Here we see amphoras, these clay amphoras in which 16:02.687 --> 16:06.567 wine or oil were kept, so a wine or an oil shop there. 16:06.570 --> 16:08.030 And then, of course, our favorite, 16:08.029 --> 16:10.109 the fast-food stand, the thermopolium; 16:10.110 --> 16:13.160 Herculaneum had plenty of thermopolia, 16:13.155 --> 16:15.575 very similar to those in Pompeii. 16:15.580 --> 16:18.170 So you can imagine, for the most part, 16:18.168 --> 16:20.338 a quite similar looking city. 16:20.340 --> 16:23.060 I mentioned though that the evidence that we do have is 16:23.062 --> 16:25.032 mostly for residential architecture, 16:25.028 --> 16:28.488 and there are three houses in particular that I want to focus 16:28.493 --> 16:30.053 on, because they give us 16:30.054 --> 16:33.884 information that goes beyond the information that I've been able 16:33.883 --> 16:37.533 to give you from the houses that we looked at in Pompeii. 16:37.529 --> 16:42.069 The first one I want to look at is the so-called Samnite House 16:42.065 --> 16:43.325 at Herculaneum. 16:43.330 --> 16:48.200 It dates to the second century B.C., and you see it in plan 16:48.202 --> 16:48.792 here. 16:48.789 --> 16:50.349 It's a very simple house. 16:50.350 --> 16:51.280 So second century B.C. 16:51.279 --> 16:52.679 That tells you what? 16:52.678 --> 16:55.808 It tells you that it's early, but it's already in that 16:55.808 --> 16:59.118 Hellenized-domus period, which began in the second 16:59.115 --> 17:00.055 century B.C. 17:00.058 --> 17:03.458 So we look to see which plan it conforms to. 17:03.460 --> 17:06.690 Does it conform to the Domus Italica, or the Hellenized 17:06.685 --> 17:07.475 domus? 17:07.480 --> 17:10.220 Well at first it looks like it conforms to the Domus 17:10.220 --> 17:12.910 Italica, because you can see it's quite simple. 17:12.910 --> 17:14.250 It has the basic core. 17:14.250 --> 17:16.240 You come in here, into the fauces. 17:16.240 --> 17:19.410 There are cells on either side, the cellae. 17:19.410 --> 17:21.660 These cellae are indeed cellae. 17:21.660 --> 17:25.310 They open up only to the house and not to the outside. 17:25.308 --> 17:27.588 They have not been transformed into shops. 17:27.589 --> 17:29.359 We see the atrium here. 17:29.358 --> 17:32.398 We see the impluvium of the atrium, and there was, 17:32.404 --> 17:34.694 of course, a compluvium up above. 17:34.690 --> 17:37.690 We see a very small number of cubicula, 17:37.693 --> 17:39.433 just a couple over here. 17:39.430 --> 17:42.790 And we don't seem to see the usual wings, 17:42.788 --> 17:45.678 unless this one over here--although there seems to be 17:45.681 --> 17:47.851 some sort of staircase on that side-- 17:47.849 --> 17:50.199 served in part as the wing. 17:50.200 --> 17:53.590 And so and one of those rooms, probably the left one, 17:53.586 --> 17:55.406 served as the dining room. 17:55.410 --> 17:57.110 There's no hortus, there's no peristyle. 17:57.108 --> 18:01.438 So again at first it looks like a pretty simple example of 18:01.442 --> 18:05.392 the--an even simplified version of a typical Domus 18:05.394 --> 18:06.614 Italica. 18:06.608 --> 18:09.188 But when we walk into the atrium, which is very well 18:09.193 --> 18:11.123 preserved today, we see something quite 18:11.119 --> 18:11.829 different. 18:11.828 --> 18:15.098 The focus in this particular house was the atrium. 18:15.099 --> 18:16.289 You can tell it's an atrium. 18:16.288 --> 18:18.718 You can see the compluvium up above. 18:18.720 --> 18:22.700 We're looking here at the entranceway, through the 18:22.700 --> 18:24.000 fauces. 18:24.000 --> 18:27.920 These are the doors into the two cells, one on either side. 18:27.920 --> 18:31.880 This is a door into one of the only two cubicula in this 18:31.882 --> 18:32.652 structure. 18:32.650 --> 18:36.880 You can see also that the patron and designer of this 18:36.878 --> 18:41.058 particular house wanted to-- you can see that this is a 18:41.058 --> 18:44.378 Hellenized domus, in the sense that they have 18:44.376 --> 18:48.846 incorporated pilasters here, on either side of the wall, 18:48.849 --> 18:51.369 next to the entranceway. 18:51.368 --> 18:56.348 But most interesting of all is what has happened in what seems 18:56.347 --> 18:59.447 to be a second story for the atrium. 18:59.450 --> 19:01.210 They have expanded, they have moved, 19:01.210 --> 19:04.900 they have developed the atrium even more vertically than has 19:04.898 --> 19:12.358 been the case before, by adding this blind gallery, 19:12.361 --> 19:17.601 up at the top, which on three sides is again 19:17.603 --> 19:19.693 closed-- you can see the enclosed 19:19.692 --> 19:23.262 wall--but on the fourth side, which I don't have an image to 19:23.256 --> 19:26.216 show you, the fourth side, it's open. 19:26.220 --> 19:29.340 So there's an open loggia, there's open space between the 19:29.342 --> 19:29.902 columns. 19:29.900 --> 19:33.830 So blind gallery on three sides, open loggia on the other 19:33.827 --> 19:35.767 side; the open loggia, 19:35.769 --> 19:40.659 of course, bringing additional light into the atrium. 19:40.660 --> 19:43.570 So a very elaborate treatment of the atrium, 19:43.568 --> 19:48.298 which shows us not only the esteem in which this particular 19:48.298 --> 19:51.698 patron held the atrium, but also this interesting 19:51.699 --> 19:54.669 incorporation of columns in a different way than we've seen 19:54.666 --> 19:56.876 before, making them the high point of 19:56.882 --> 19:59.562 this room by placing them in the second story. 19:59.559 --> 20:01.149 They are Ionic columns. 20:01.150 --> 20:05.210 Notice also this sort of latticework fence that encircles 20:05.207 --> 20:05.567 it. 20:05.568 --> 20:08.518 We'll see that kind of latticework fence also in Roman 20:08.518 --> 20:09.128 painting. 20:09.130 --> 20:11.220 You can see, in fact, the remains of some 20:11.221 --> 20:12.321 paint on the walls. 20:12.318 --> 20:15.238 So the walls behind this were painted. 20:15.240 --> 20:19.970 So a very opulent atrium that shows again this interest in 20:19.974 --> 20:24.964 building vertically and adding some interest at the uppermost 20:24.959 --> 20:27.249 part, to create this sense of two 20:27.251 --> 20:27.741 stories. 20:27.740 --> 20:32.310 This is a development--this is in fact even early for that, 20:32.311 --> 20:34.521 in the second century B.C. 20:34.519 --> 20:40.529 The two most important houses, however, at Herculaneum are the 20:40.530 --> 20:46.050 House of the Mosaic Atrium and the House of the Stags. 20:46.048 --> 20:50.098 And I want to look at both of those houses with you today. 20:50.098 --> 20:53.128 I'm going to start with the House of the Mosaic Atrium. 20:53.130 --> 20:55.380 You can see from this plan, which comes from the 20:55.383 --> 20:57.923 Ward-Perkins textbook, you can see from this plan that 20:57.923 --> 21:01.673 they are literally side-by-side; they essentially share a wall, 21:01.666 --> 21:03.076 as you can see here. 21:03.078 --> 21:07.078 They are very important in terms of the development, 21:07.078 --> 21:11.968 not only of residential architecture in Campania in the 21:11.972 --> 21:16.982 late first century A.D., but also as a premonition of 21:16.980 --> 21:22.010 what's to come in much later residential architecture. 21:22.009 --> 21:23.419 Again, I'm going to look at both of them, 21:23.421 --> 21:25.081 and we'll start first with the Mosaic Atrium. 21:25.078 --> 21:27.148 If you look at the top of the plan, 21:27.150 --> 21:29.120 the northern most part of the plan-- 21:29.118 --> 21:31.318 and this house, by the way, does--as you can 21:31.317 --> 21:35.187 see from the Monument List-- does date to A.D. 21:35.190 --> 21:40.070 62 to 79, so at the very end of domestic architecture 21:40.071 --> 21:42.421 development in Pompeii. 21:42.420 --> 21:44.600 If we look at the uppermost part, the north, 21:44.598 --> 21:47.768 you will see that if you enter the house at the arrow, 21:47.769 --> 21:51.059 and you look ahead, you would think-- 21:51.058 --> 21:53.548 you look at the vista ahead and see the atrium and the 21:53.548 --> 21:56.198 tablinum-- you would think you were in a 21:56.195 --> 21:58.675 typical Domus Italica type house. 21:58.680 --> 22:00.870 It's got those three main elements. 22:00.869 --> 22:03.149 It's got the fauces; it's got the atrium with an 22:03.146 --> 22:05.276 impluvium and a compluvium, 22:05.277 --> 22:08.067 as we'll see; and it's got a tablinum, 22:08.070 --> 22:09.950 all on axis with one another. 22:09.950 --> 22:12.960 But as you're standing in the atrium looking toward the 22:12.960 --> 22:15.140 tablinum, you're kind of looking at this 22:15.143 --> 22:16.683 tablinum and saying to yourself, 22:16.680 --> 22:18.560 "This is not the tablinum I know, 22:18.558 --> 22:19.798 this is not the tablinum I'm used to, 22:19.798 --> 22:22.248 this is not the tablinum in most of the houses that I 22:22.250 --> 22:22.790 know." 22:22.788 --> 22:24.908 It's designed in a very different way. 22:24.910 --> 22:28.240 And what is it that you see in plan that indicates to us that 22:28.238 --> 22:30.178 it's designed in a different way? 22:30.180 --> 22:32.290 Does anyone see what it is? 22:32.289 --> 22:33.959 Student: Columns. 22:33.960 --> 22:37.010 Prof: It has--are they columns? 22:37.011 --> 22:38.251 Look closely. 22:38.250 --> 22:39.980 Student: Flat. 22:39.980 --> 22:40.960 Prof: Are they round? 22:40.957 --> 22:41.687 Student: No. 22:41.690 --> 22:42.710 Prof: No, they're square. 22:42.710 --> 22:46.540 So they're either piers, or they're columns on bases 22:46.538 --> 22:47.888 that are square. 22:47.890 --> 22:50.150 But you're right, there are architectural members 22:50.148 --> 22:50.618 in here. 22:50.618 --> 22:53.288 It turns out they're piers but--so there are piers in here. 22:53.289 --> 22:54.229 Okay. 22:54.230 --> 22:55.170 What else? 22:55.170 --> 22:58.360 What about the actual plan itself? 22:58.358 --> 23:04.298 How are those piers--what's the relationship of those piers to 23:04.297 --> 23:06.047 the room design? 23:06.049 --> 23:09.569 Someone over there? 23:09.569 --> 23:12.559 Student: Freestanding. 23:12.559 --> 23:14.139 Prof: Freestanding. Yes. 23:14.140 --> 23:15.710 What else? 23:15.710 --> 23:18.530 Does it remind you of a plan we've seen in another context? 23:18.528 --> 23:22.918 You're looking at a central space, divided by two aisles, 23:22.924 --> 23:26.854 by architectural members, in this case by piers. 23:26.849 --> 23:27.849 A basilica. 23:27.848 --> 23:31.338 It's a basilican plan: central nave, 23:31.336 --> 23:33.126 two side aisles. 23:33.130 --> 23:35.430 What's a basilican plan doing in a house? 23:35.430 --> 23:37.220 Is this a basilica or a law court? 23:37.220 --> 23:37.780 No. 23:37.779 --> 23:40.529 It's actually a winter banqueting room, 23:40.530 --> 23:44.730 but a winter banqueting room in the shape of a basilica. 23:44.730 --> 23:47.310 And I make a lot of that, because we'll see this 23:47.306 --> 23:50.646 happening with increasing frequency in Roman architecture, 23:50.650 --> 23:53.400 and that is a certain building type that was developed for one 23:53.397 --> 23:56.307 kind of building-- in this case a basilican plan 23:56.314 --> 24:00.624 developed for law courts-- begins to be used for another 24:00.622 --> 24:03.442 kind of room, in this case a winter 24:03.438 --> 24:04.698 banqueting hall. 24:04.700 --> 24:07.600 And I like to call this the sort of inter-changeability of 24:07.601 --> 24:09.621 form -- that you can develop a certain 24:09.619 --> 24:11.649 plan for a certain kind of structure, 24:11.650 --> 24:14.960 but then be creative enough to realize that you could use that 24:14.963 --> 24:16.923 same plan in another environment, 24:16.920 --> 24:19.100 in a different but interesting way. 24:19.098 --> 24:20.918 And that's exactly what happens here. 24:20.920 --> 24:23.200 Now needless to say the scale is actually fairly large. 24:23.200 --> 24:25.430 But this does not look like a huge basilica. 24:25.430 --> 24:30.890 It's brought down to domestic size scale, as you can see here. 24:30.890 --> 24:32.750 So that's a very interesting development. 24:32.750 --> 24:35.260 It's very well preserved, and I'll show it to you in a 24:35.262 --> 24:35.692 moment. 24:35.690 --> 24:38.850 So once you get into the atrium, then you have to take an 24:38.845 --> 24:41.715 abrupt right in order to see the peristyle court. 24:41.720 --> 24:43.870 And the peristyle court is very, very large. 24:43.868 --> 24:47.428 We've talked about the fact that there was an increasing 24:47.425 --> 24:51.625 interest in the peristyle as a key component of a Roman house, 24:51.630 --> 24:53.870 and we see that very clearly here; 24:53.868 --> 24:57.158 in fact, the peristyle is really beginning to take pride 24:57.163 --> 24:59.083 of place away from the atrium. 24:59.078 --> 25:02.618 Because the atrium is almost beginning to go the way of the 25:02.622 --> 25:05.492 tablinum, in the sense that it's becoming 25:05.492 --> 25:08.242 a kind of passageway; it's not an end in itself, 25:08.240 --> 25:11.010 it's becoming--or the atrium and tablinum aren't ends 25:11.009 --> 25:13.119 in themselves, they are a passageway into this 25:13.121 --> 25:14.061 huge peristyle. 25:14.058 --> 25:16.908 If you look at the plan of the peristyle, you can see that 25:16.910 --> 25:19.260 there are columns, but those columns are engaged 25:19.259 --> 25:20.159 into the wall. 25:20.160 --> 25:21.100 And that's well preserved. 25:21.099 --> 25:22.269 I'll show it to you in a moment. 25:22.269 --> 25:26.679 And then also extremely interesting is now on axis with 25:26.679 --> 25:30.189 the atrium and the huge peristyle, is TR; 25:30.190 --> 25:33.800 TR is the triclinium or the dining room. 25:33.798 --> 25:35.938 And look at the size of that triclinium, 25:35.940 --> 25:39.160 and look at the fact that the triclinium opens both off 25:39.161 --> 25:41.961 the peristyle and also has an opening on this way, 25:41.960 --> 25:44.550 on this end, toward the front--toward the 25:44.545 --> 25:47.815 other side, excuse me--of the house. 25:47.818 --> 25:52.858 And this is the side, the southern side that faces 25:52.861 --> 25:53.891 the sea. 25:53.890 --> 25:57.500 And Herculaneum was very close--I'll show you a restored 25:57.499 --> 26:01.369 view that makes this clear in a moment--Herculaneum was very 26:01.371 --> 26:02.751 close to the sea. 26:02.750 --> 26:05.920 And these two houses were probably among the two most 26:05.924 --> 26:09.774 expensive houses in Herculaneum, because they had the best views 26:09.772 --> 26:10.692 of the sea. 26:10.690 --> 26:12.750 They were very high up, above the sea wall, 26:12.752 --> 26:14.672 and they looked right out at the sea. 26:14.670 --> 26:17.030 So the way they've designed this: very large 26:17.028 --> 26:20.018 triclinium, to benefit from being able to 26:20.016 --> 26:23.306 see both the peristyle and views out over the sea, 26:23.309 --> 26:24.749 even while you were dining. 26:24.750 --> 26:29.460 There seems to have been a colonnade over here--so views 26:29.461 --> 26:33.401 through columns, out to the sea--and then these 26:33.402 --> 26:35.032 two rooms at D. 26:35.029 --> 26:37.949 These are, as you can see here, the diaetae; 26:37.950 --> 26:44.310 d-i-a-e-t-a, singular; d-i-a-e-t-a-e, plural. 26:44.308 --> 26:48.168 These are rooms that are set aside for sort of summer 26:48.171 --> 26:52.401 pleasure, summer pleasures, near the panoramic window that 26:52.403 --> 26:54.783 you can look out to the sea. 26:54.779 --> 26:58.469 So a place to relax and enjoy the sunshine on the southern 26:58.471 --> 26:59.841 end; views of the sea; 26:59.838 --> 27:04.108 a special room set aside just for that kind of panoramic 27:04.105 --> 27:05.885 viewing and the like. 27:05.890 --> 27:08.600 So this move again toward vista, toward panorama, 27:08.604 --> 27:10.814 that we've been talking about before. 27:10.808 --> 27:15.488 So some very important changes here that signal where Roman 27:15.492 --> 27:19.452 residential architecture will go in the future. 27:19.450 --> 27:23.190 I'm going to wait on the plan of the Stags until we finish 27:23.189 --> 27:24.829 with the Mosaic Atrium. 27:24.828 --> 27:27.548 The Mosaic Atrium, you can see a view into the 27:27.551 --> 27:28.461 atrium today. 27:28.460 --> 27:30.980 You can see why the house is called the House of the Mosaic 27:30.976 --> 27:32.606 Atrium, because of the very 27:32.612 --> 27:37.472 well-preserved black and white, striking black and white mosaic 27:37.471 --> 27:39.261 that we find there. 27:39.259 --> 27:42.379 And you can see how well preserved the impluvium 27:42.384 --> 27:44.994 is, with the mosaic decoration around that. 27:44.990 --> 27:47.360 You can also see, however, if you look carefully 27:47.362 --> 27:50.292 at this image--you've probably noticed it already--that the 27:50.289 --> 27:51.299 floor undulates. 27:51.299 --> 27:52.499 Why does the floor undulate? 27:52.500 --> 27:57.030 The floor undulates because of that heavy blanket of lava that 27:57.029 --> 28:02.229 entered into Herculaneum, that made its presence known 28:02.231 --> 28:08.701 and that distorted the shape of the floor of the atrium, 28:08.700 --> 28:11.360 but fortunately preserved it, at the same time, 28:11.359 --> 28:12.539 which is great. 28:12.538 --> 28:15.498 We're looking from the atrium into the tablinum, 28:15.500 --> 28:18.900 and we see that basilican form that we described already 28:18.901 --> 28:21.471 before: a central nave, a back wall, 28:21.470 --> 28:24.280 side aisles on either-- you can't see this side, 28:24.278 --> 28:25.908 but the same on this side as on this side-- 28:25.910 --> 28:31.100 side aisles and circulation of space among them. 28:31.098 --> 28:34.258 And you can also see, if you look very carefully-- 28:34.259 --> 28:35.749 and I have another view in a moment-- 28:35.750 --> 28:37.910 that there are windows here as well, 28:37.910 --> 28:40.050 windows that allow light into the system. 28:40.048 --> 28:42.278 When we talked about the Basilica of Pompeii, 28:42.279 --> 28:46.009 I mentioned to you that the Basilica at Pompeii did not have 28:46.008 --> 28:49.428 a clerestory-- c-l-e-r-e s-t-o-r-y--did not 28:49.433 --> 28:52.783 have a clerestory, but that we would begin to see 28:52.781 --> 28:55.001 the development of the clerestory later. 28:55.000 --> 28:57.750 We see it here; this use of a clerestory with 28:57.751 --> 29:01.711 the placement of windows in that second story to allow light into 29:01.709 --> 29:02.759 the structure. 29:02.759 --> 29:04.339 It has been developed here. 29:04.338 --> 29:07.068 It's a very important architectural development, 29:07.066 --> 29:10.426 and we're going to see again the ramifications of that into 29:10.430 --> 29:11.300 the future. 29:11.298 --> 29:16.478 Here's another view of this banqueting hall. 29:16.480 --> 29:18.840 And, by the way, the technical name for this-- 29:18.838 --> 29:19.688 and I have it on the Monument List for you-- 29:19.690 --> 29:22.830 is the Egyptian oecus or the oecus 29:22.832 --> 29:24.812 Aegypticus; the oecus 29:24.805 --> 29:27.285 Aegyptiacus, or if it's easier for you, 29:27.289 --> 29:30.399 the Egyptian oecus: this particular form of 29:30.400 --> 29:34.060 banqueting hall, in the shape of a basilica. 29:34.058 --> 29:36.778 This view is helpful, not only because you can see 29:36.779 --> 29:39.489 the piers better, but also because you can see 29:39.486 --> 29:42.046 the windows better: the clerestory system that 29:42.051 --> 29:43.821 allows light into the space. 29:43.818 --> 29:47.068 And you can also see this ubiquitous use of white and red 29:47.066 --> 29:50.306 for the piers in this case, just as they are usually used 29:50.311 --> 29:51.241 for columns. 29:51.240 --> 29:55.060 The uppermost part of the pier is white, and then they've 29:55.056 --> 29:56.756 painted the bottom red. 29:56.759 --> 30:02.459 So very similarly to the kind of decor we saw also in Pompeii. 30:02.460 --> 30:04.880 This is, of course, the peristyle court. 30:04.880 --> 30:09.150 You can see it here, and you can see the way in 30:09.145 --> 30:14.425 which these columns have been engaged into the wall of the 30:14.432 --> 30:16.012 garden court. 30:16.009 --> 30:19.009 You can also see this interesting use of combination 30:19.009 --> 30:21.479 of stone and tile, for the construction. 30:21.480 --> 30:24.880 Also interesting, as you look at the rooms that 30:24.875 --> 30:29.375 line the side of the peristyle, you can see how opened up they 30:29.377 --> 30:30.557 have become. 30:30.558 --> 30:34.388 We don't see that severe wall that we saw in the very earliest 30:34.388 --> 30:36.708 Domus Italica, with no windows, 30:36.711 --> 30:38.031 as you'll recall. 30:38.029 --> 30:40.769 There are lots of windows here, and they are large windows, 30:40.769 --> 30:43.909 and they are allowing light into the structure, 30:43.910 --> 30:45.570 not just on the front, where the views are, 30:45.568 --> 30:47.538 but on the other sides of the building. 30:47.538 --> 30:51.878 This is again a very important change and one that is going to 30:51.880 --> 30:55.580 have again important ramifications for the future. 30:55.578 --> 31:00.918 Note also that the famous Pompeian red is used to decorate 31:00.923 --> 31:02.053 the walls. 31:02.048 --> 31:04.108 So that's the House of the Mosaic Atrium. 31:04.108 --> 31:07.758 Now let's turn to the House of the Stags; 31:07.759 --> 31:10.409 the House of the Stags so called because of a sculpture 31:10.410 --> 31:13.110 that was found there, that I'll show you a bit later. 31:13.108 --> 31:16.618 If we look at the House of the Stags, we see some interesting 31:16.616 --> 31:19.536 things happening as well, that seem to parallel the 31:19.540 --> 31:21.880 development we've already described. 31:21.880 --> 31:24.820 This house too, built between 62 and 79. 31:24.818 --> 31:29.098 The entrance in this case is on the uppermost right, 31:29.098 --> 31:33.058 right here, and you can see that you enter in along a 31:33.056 --> 31:36.746 fauces, along the throat of the house, 31:36.753 --> 31:39.883 into what is designated as the atrium. 31:39.880 --> 31:43.800 But that atrium is not like any other atrium we've seen thus far 31:43.803 --> 31:44.803 this semester. 31:44.799 --> 31:46.999 What's missing? 31:47.000 --> 31:47.900 Student: Impluvium. 31:47.900 --> 31:48.970 Prof: The impluvium; 31:48.968 --> 31:50.068 the impluvium is missing. 31:50.068 --> 31:54.248 If there's no impluvium, there's no compluvium, 31:54.252 --> 31:57.812 which means that the room is not open to the sky. 31:57.808 --> 32:01.588 And we call an atrium that has no opening--and I've put this on 32:01.592 --> 32:04.152 the Monument List for you--an atrium 32:04.154 --> 32:06.764 testudinatum; an atrium 32:06.755 --> 32:11.365 testudinatum is an atrium that has no opening to the sky. 32:11.369 --> 32:12.719 And that's the case here. 32:12.720 --> 32:17.250 That also tends to underplay the space, 32:17.250 --> 32:20.250 because it's no longer as interesting as it was when it 32:20.249 --> 32:23.969 had that wonderful basin and the skylight and so on and so forth. 32:23.970 --> 32:25.840 And if you look at the plan, you'll see it's very 32:25.843 --> 32:26.393 interesting. 32:26.390 --> 32:28.470 It has lots of openings on various sides. 32:28.470 --> 32:31.470 So this is a really good example of what I was hinting at 32:31.471 --> 32:34.691 before, and that is the atrium beginning to go the way of the 32:34.686 --> 32:37.216 tablinum; the atrium beginning to become 32:37.222 --> 32:39.762 a passageway from one part of the house to another. 32:39.759 --> 32:42.789 It really is merely a passageway from the outside, 32:42.788 --> 32:45.878 from the fauces, into the other rooms of the 32:45.881 --> 32:46.501 house. 32:46.500 --> 32:49.370 What has received the greatest emphasis, 32:49.368 --> 32:53.018 by the patron and by the designer, is not the atrium, 32:53.019 --> 32:56.099 but is the triclinium or dining hall, 32:56.098 --> 32:57.968 and you can see that there are two of them, 32:57.970 --> 33:02.920 and they are placed in relationship to one another, 33:02.920 --> 33:04.900 axial relationship to one another. 33:04.900 --> 33:06.790 So they're almost talking to one another; 33:06.788 --> 33:09.388 there's a kind of dialogue, an architectural dialogue, 33:09.390 --> 33:12.120 between that smaller triclinium and this 33:12.117 --> 33:16.587 larger triclinium, across an open courtyard. 33:16.588 --> 33:20.688 So here we see again the triclinium beginning to 33:20.694 --> 33:25.034 emerge as the single most important room in the house, 33:25.028 --> 33:28.488 which obviously signals what's going on in these houses -- 33:28.490 --> 33:31.480 that people are beginning to use them even more than they did 33:31.480 --> 33:34.200 before, not only as places of business 33:34.204 --> 33:37.844 but as places to enjoy fabulous dinner parties, 33:37.838 --> 33:40.378 while you can look out over the sea. 33:40.380 --> 33:41.270 And, in fact, if you look at this 33:41.267 --> 33:42.697 triclinium, the larger one, 33:42.698 --> 33:45.808 you can see again it opens both off the garden court, 33:45.808 --> 33:49.708 and also opens toward the south, where you would have seen 33:49.707 --> 33:52.447 the views of the sea; all of this very deliberate. 33:52.450 --> 33:55.980 We see the diaetae here as well, these summer living 33:55.982 --> 33:58.362 spaces with views out over the water. 33:58.358 --> 34:02.998 And here we see an interesting detail, 34:03.000 --> 34:05.970 which is a kind of kiosk or gazebo that's located in the 34:05.972 --> 34:07.852 front, and that actually still 34:07.846 --> 34:10.796 survives, and I'll show that to you in a moment. 34:10.800 --> 34:15.240 So again quite momentous changes in residential 34:15.239 --> 34:21.029 architecture in Herculaneum and in Campania in general in the 34:21.032 --> 34:23.642 late first century A.D. 34:23.639 --> 34:26.519 This is a restored view -- very helpful because we can use it to 34:26.523 --> 34:27.993 illustrate a number of things. 34:27.989 --> 34:31.719 We can use it to illustrate how close to the sea Herculaneum 34:31.719 --> 34:32.099 was. 34:32.099 --> 34:35.659 We can use it to look at the sea wall that I talked about 34:35.657 --> 34:36.227 before. 34:36.230 --> 34:40.050 We can use it to look at the harbor, the small boat dock that 34:40.054 --> 34:42.354 was down here, with boats waiting. 34:42.349 --> 34:47.099 This was the place that people ran to in order to escape the 34:47.097 --> 34:49.347 onslaught of the Vesuvius. 34:49.349 --> 34:53.899 And this is exactly -- this sea wall is exactly where those 34:53.900 --> 34:57.510 bodies were found, so they made it this far but 34:57.509 --> 34:58.999 not far enough. 34:59.000 --> 35:01.920 And we can pick out both the House of the Mosaic Atrium, 35:01.916 --> 35:04.516 right here, and the House of the Stags, over here: 35:04.516 --> 35:06.846 both of them very large, as you can see. 35:06.849 --> 35:09.359 You can see in the case--here's the northern end-- 35:09.360 --> 35:11.110 you can see is this case, for the House of the Mosaic 35:11.112 --> 35:13.122 Atrium, the compluvium of the 35:13.119 --> 35:15.849 atrium that we described, the mosaic atrium. 35:15.849 --> 35:18.019 You can see the open court here. 35:18.018 --> 35:22.808 You can see the side that faces the sea and how opened up it is, 35:22.809 --> 35:26.549 how many windows there were, how open, 35:26.550 --> 35:28.700 the diaetae on either side, where you could get nice 35:28.702 --> 35:29.002 views. 35:29.000 --> 35:31.890 Here, the House of the Stags, same sort of thing. 35:31.889 --> 35:34.519 You see no opening whatsoever in the northern end, 35:34.518 --> 35:37.198 no opening in the ceiling, no compluvium. 35:37.199 --> 35:40.309 You see the two trinclinia facing one 35:40.306 --> 35:44.656 another across the open court, and you see that little gazebo 35:44.659 --> 35:47.209 entranceway, a gazebo that again looks out 35:47.211 --> 35:50.441 toward the sea, that distinctive detail. 35:50.440 --> 35:52.800 Here are a couple more views, just to show you quickly. 35:52.800 --> 35:55.930 If you go and visit Herculaneum, you can still see 35:55.927 --> 35:59.307 those sea walls there, made out of concrete as you can 35:59.309 --> 35:59.819 see. 35:59.820 --> 36:01.960 They're well worth taking a look at. 36:01.960 --> 36:06.870 And this is a view taken--this is one of the ways you can enter 36:06.865 --> 36:09.235 into the city--taken across. 36:09.239 --> 36:13.049 You can see Vesuvius in the background, and you can see this 36:13.052 --> 36:16.742 is the House of the Mosaic Atrium, that we've been looking 36:16.737 --> 36:17.187 at. 36:17.190 --> 36:18.430 This is the House of the Stags. 36:18.429 --> 36:21.259 And you can tell the difference because of the little gazebo, 36:21.257 --> 36:22.387 little kiosk in front. 36:22.389 --> 36:26.739 And here you can see again so well the way this is positioned 36:26.740 --> 36:30.810 high up on the wall, with spectacular views of the 36:30.809 --> 36:35.939 sea, and this opening up of the wall to allow maximum vista, 36:35.940 --> 36:40.990 maximum panorama, through those spaces in the 36:40.990 --> 36:41.910 house. 36:41.909 --> 36:44.249 Note the kiosk here, and then note this other 36:44.246 --> 36:46.126 entrance; I'm going to show you both of 36:46.128 --> 36:46.888 those in detail. 36:46.889 --> 36:47.939 This is a little gazebo. 36:47.940 --> 36:50.100 As you can see, it rests on piers. 36:50.099 --> 36:52.969 It was obviously a very pleasant place to sit, 36:52.969 --> 36:56.349 with marble furniture, and to have a glass of wine out 36:56.347 --> 36:58.577 here, looking out over the sea. 36:58.579 --> 37:02.109 And you can see once again that the piers have been stuccoed 37:02.112 --> 37:04.392 over: white on top, red on the bottom, 37:04.387 --> 37:07.527 just as we have seen is so characteristic also of Pompeii. 37:07.530 --> 37:11.320 And right behind, that other entranceway, 37:11.320 --> 37:14.260 that I can also show you, where you can see-- 37:14.260 --> 37:16.890 if you look very closely, you can see not only the red 37:16.889 --> 37:20.479 paint on the pilasters, but also the very elaborate 37:20.483 --> 37:24.923 decoration in blue and white of the pediment above. 37:24.920 --> 37:27.960 This gives you some sense also of the kind of decorative 37:27.956 --> 37:30.826 sculpture there would've been in buildings like this: 37:30.829 --> 37:34.709 the marble tables, these wonderful statues--there 37:34.711 --> 37:38.351 are two of them-- of stags being attacked by 37:38.347 --> 37:43.597 hounds, and these stags are what have given this house its name, 37:43.599 --> 37:47.889 the House of the Stags. 37:47.889 --> 37:51.759 I want to turn from Roman residential architecture in 37:51.762 --> 37:54.892 Herculaneum and the developments there, 37:54.889 --> 38:00.529 to early Roman wall decoration, painted decoration, 38:00.530 --> 38:04.150 and as I said at the beginning, specifically to the First and 38:04.148 --> 38:06.558 Second Styles of Roman wall painting, 38:06.559 --> 38:09.239 which are particularly interesting in the context of a 38:09.239 --> 38:11.669 course on architecture because, as we'll see, 38:11.672 --> 38:13.762 they are so architecturally oriented. 38:13.760 --> 38:18.470 I want to begin with a wall from the House of Sallust, 38:18.472 --> 38:21.232 and we'll go back to Pompeii. 38:21.230 --> 38:24.320 We'll be looking at examples both in Pompeii and Herculaneum, 38:24.315 --> 38:25.135 and also Rome. 38:25.139 --> 38:28.339 I want to look at the House of Sallust in Pompeii. 38:28.340 --> 38:31.030 And you can see from your Monument List that the 38:31.032 --> 38:34.362 tablinum was decorated with what we call First Style 38:34.355 --> 38:35.725 Roman wall painting. 38:35.730 --> 38:39.330 That's obviously a modern, scholarly designation. 38:39.329 --> 38:42.789 They didn't call it that in ancient Rome or Pompeii or 38:42.793 --> 38:43.713 Herculaneum. 38:43.710 --> 38:46.250 First Style Roman wall painting. 38:46.250 --> 38:50.450 This tablinum in this house was decorated in around 38:50.445 --> 38:54.855 100 B.C., which is when we date most of the examples of First 38:54.860 --> 38:57.070 Style Roman wall painting. 38:57.070 --> 39:00.410 It is very well preserved, and it gives us a very good 39:00.407 --> 39:03.367 sense of what the Romans, or what, in this case, 39:03.367 --> 39:05.947 the Pompeians were trying to achieve. 39:05.949 --> 39:09.079 This style, the First Style of Roman wall painting is also-- 39:09.079 --> 39:12.109 you'll see it referred to in your books and in your textbooks 39:12.105 --> 39:16.565 and in scholarship in general, as either the Masonry Style, 39:16.570 --> 39:19.270 or the Incrustation Style. 39:19.268 --> 39:22.668 And the reason for this--both of those are good descriptions-- 39:22.670 --> 39:26.490 because you can see that what is at work here is that the 39:26.490 --> 39:29.290 designers are trying to create a wall, 39:29.289 --> 39:32.169 they're trying to create the illusion that what we're looking 39:32.172 --> 39:33.952 at is not a stucco and paint wall, 39:33.949 --> 39:35.269 which is actually what it's made out of, 39:35.269 --> 39:37.299 but a real marble wall. 39:37.300 --> 39:41.480 We can see that the wall is divided into a series of zones, 39:41.480 --> 39:44.470 architectural zones, which are exactly the zones 39:44.472 --> 39:47.342 that were used in Roman building technique. 39:47.340 --> 39:49.070 We don't quite see it here. 39:49.070 --> 39:50.430 I'll show it to you in another example. 39:50.429 --> 39:52.729 There's usually, way at the bottom, 39:52.733 --> 39:55.723 a very narrow band, which is called a plinth, 39:55.715 --> 39:56.795 p-l-i-n-t-h. 39:56.800 --> 40:01.420 The plinth has above it what's called a socle, 40:01.422 --> 40:07.382 s-o-c-l-e, which is a higher, a slightly higher element. 40:07.380 --> 40:13.650 Then what are called the orthostats, o-r-t-h-o-s-t-a-t-s; 40:13.650 --> 40:17.000 the orthostats are these blocks here. 40:17.000 --> 40:21.470 And then the isodomic, i-s-o-d-o-m-i-c, 40:21.465 --> 40:25.975 the isodomic courses; you see those here. 40:25.980 --> 40:28.100 And then usually either a stringcourse, 40:28.099 --> 40:31.479 or more likely, or in addition to, 40:31.478 --> 40:33.888 a cornice, what's called a cornice, 40:33.891 --> 40:38.191 a projecting cornice-- c-o-r-n-i-c-e--at the top. 40:38.190 --> 40:42.100 So plinth, socle, orthostats, isodomic blocks, 40:42.097 --> 40:46.697 and then the stringcourse and the cornice, which again 40:46.699 --> 40:51.129 corresponds to actual Roman building technique. 40:51.130 --> 40:54.960 But more important than that terminology is again what they 40:54.956 --> 40:56.866 are trying to achieve here. 40:56.869 --> 41:00.599 It is clear when you look--well first of all keep in mind that 41:00.597 --> 41:02.677 this is not flat; it's a relief, 41:02.681 --> 41:05.911 it's a relief wall, and the wall has been built up 41:05.905 --> 41:07.745 in relief through stucco. 41:07.750 --> 41:10.260 They've taken the rubble wall, they've added stucco, 41:10.260 --> 41:13.060 and they've made that stucco look like a series of blocks 41:13.059 --> 41:15.159 that are divided by these stringcourses. 41:15.159 --> 41:17.769 Then what they've done is painted those blocks, 41:17.768 --> 41:20.318 and they've painted those blocks not all one color, 41:20.320 --> 41:23.430 not all Pompeian red, but all different kinds of 41:23.429 --> 41:26.339 colors: green and red and pink and beige, 41:26.340 --> 41:28.680 and sometimes multicolored, as we'll see. 41:28.679 --> 41:30.349 What is the implication here? 41:30.349 --> 41:33.509 The implication here is that we are looking-- 41:33.510 --> 41:35.030 that they're trying to create the illusion, 41:35.030 --> 41:39.160 through stucco and paint, of a marble wall, 41:39.159 --> 41:42.019 of a marble wall that would've been very expensive to build, 41:42.018 --> 41:44.438 because you would've had to bring all of these multicolored 41:44.440 --> 41:46.980 marbles, which you could not find in 41:46.981 --> 41:51.451 Italy, from places very far away: from North Africa or from 41:51.454 --> 41:54.774 Asia Minor or from Greece or from Egypt. 41:54.768 --> 41:57.378 You'd have to bring it from very, very, very far away, 41:57.384 --> 41:59.904 and that would cost a tremendous amount of money. 41:59.900 --> 42:03.720 So what they are saying here is, "I'm the owner of this 42:03.721 --> 42:04.241 house. 42:04.239 --> 42:08.129 I am wealthy enough to be able to afford bringing marble from 42:08.132 --> 42:11.052 all over the world and using it to decorate my 42:11.052 --> 42:12.742 tablinum." 42:12.739 --> 42:16.229 Now was anyone fooled that this was a real marble wall and not a 42:16.228 --> 42:17.058 painted wall? 42:17.059 --> 42:18.169 Well probably not. 42:18.170 --> 42:22.920 But the idea was to give one the sense that this was a very 42:22.918 --> 42:24.308 expensive wall. 42:24.309 --> 42:27.959 And we'll see one of the most--well I'll hold that until 42:27.956 --> 42:30.206 later, that thought until later. 42:30.210 --> 42:32.600 Here's another example in the same house. 42:32.599 --> 42:34.299 This is the House of Sallust. 42:34.300 --> 42:36.560 We are looking--we have just--here's the tablinum 42:36.563 --> 42:37.803 wall that we just looked at. 42:37.800 --> 42:42.520 We are now in the atrium of the house, or what survives of the 42:42.518 --> 42:44.218 atrium of the house. 42:44.219 --> 42:47.259 We are looking at two of the cubicula that open off 42:47.257 --> 42:47.947 the atrium. 42:47.949 --> 42:50.839 And if you look at the walls, you can see again the same 42:50.838 --> 42:53.988 effect, that the rubble wall has been covered with stucco; 42:53.989 --> 42:56.679 that the stucco has been divided--the stucco has been 42:56.675 --> 42:59.025 built up in relief; that it has been divided into a 42:59.030 --> 43:00.300 series of architectural zones. 43:00.300 --> 43:04.210 And then the individual blocks, in the orthostat level and in 43:04.213 --> 43:07.343 the isodomic level, have been painted different 43:07.344 --> 43:09.724 colors, again to give this illusion 43:09.722 --> 43:12.882 that what we are looking at is a marble wall, 43:12.880 --> 43:14.420 not a painted wall. 43:14.420 --> 43:18.040 So an attempt to make something, to fictionalize and 43:18.041 --> 43:21.381 make something seem more than it actually is. 43:21.380 --> 43:23.450 Here's another view, a restored view, 43:23.447 --> 43:26.887 that gives you a sense perhaps of what this might have looked 43:26.893 --> 43:29.253 like when the colors were more vivid. 43:29.250 --> 43:32.190 We do believe that those cubicula had doors, 43:32.188 --> 43:34.948 probably wooden doors that no longer survive. 43:34.949 --> 43:37.869 And you can see not only the architectural courses here, 43:37.873 --> 43:40.003 but the effect that this would've had. 43:40.000 --> 43:41.390 Here's one of these multicolored blocks, 43:41.389 --> 43:45.499 again, marble that would've had to be brought from North Africa 43:45.503 --> 43:48.503 or somewhere like that, where they had these kinds of 43:48.503 --> 43:49.473 multicolored marbles. 43:49.469 --> 43:52.249 But this gives you some sense of what the appearance would 43:52.253 --> 43:52.843 have been. 43:52.840 --> 43:56.340 And perhaps from a distance your eye really would have been 43:56.335 --> 43:59.705 fooled into thinking that this was a real marble wall. 43:59.710 --> 44:02.640 You'll remember the restored view I showed you of the House 44:02.641 --> 44:05.241 of the Faun, where we stood again in the 44:05.237 --> 44:07.547 atrium, looking back at the statuette 44:07.548 --> 44:09.938 of the Faun, and I mentioned that the walls 44:09.942 --> 44:12.722 were decorated with First Style Roman wall painting. 44:12.719 --> 44:14.429 And so we see that again here. 44:14.429 --> 44:18.009 And we see the kind of effect it would've had if the entire 44:18.014 --> 44:21.234 space was covered with this kind of wall painting. 44:21.230 --> 44:24.370 You can also see the relationship between those 44:24.371 --> 44:28.741 paintings and the vista that one saw as one stood and looked back 44:28.742 --> 44:32.842 through the columns, on to the additional columns of 44:32.840 --> 44:34.460 the peristyle court. 44:34.460 --> 44:37.550 Another example of a First Style wall, 44:37.550 --> 44:42.360 this one from Herculaneum, is the so-called Samnite House, 44:42.360 --> 44:46.080 which we saw earlier today, with that fabulous atrium. 44:46.079 --> 44:47.769 The Samnite House. 44:47.768 --> 44:52.058 And this is the fauces of the Samnite House; 44:52.059 --> 44:54.789 also dates to 100 B.C. 44:54.789 --> 44:57.499 And you can see the same scheme as we already saw. 44:57.500 --> 45:01.190 One additional feature that you can see better here is the 45:01.193 --> 45:04.763 plinth, this very narrow band that we see at the bottom, 45:04.757 --> 45:05.727 the plinth. 45:05.730 --> 45:07.020 The socle here. 45:07.019 --> 45:09.499 The orthostats here. 45:09.500 --> 45:12.660 The isodomic courses here. 45:12.659 --> 45:14.909 The stringcourse, and then the cornice. 45:14.909 --> 45:19.009 So exactly the same scheme that we saw in the other house at 45:19.012 --> 45:22.842 Pompeii we see here in the Samnite House at Herculaneum, 45:22.835 --> 45:25.265 this one even better preserved. 45:25.268 --> 45:27.428 And that's actually a very washed out view, 45:27.429 --> 45:30.489 but I can show you a better one, where you can get a better 45:30.492 --> 45:32.972 sense of the coloration of this particular wall: 45:32.974 --> 45:36.594 the plinth, the socle, the orthostats, 45:36.590 --> 45:40.110 the isodomics and then a frieze; 45:40.110 --> 45:42.130 as you can see, in between the stringcourse and 45:42.132 --> 45:43.762 the cornice, there is a red frieze. 45:43.760 --> 45:46.800 And look at--this is better preserved so that you can get a 45:46.800 --> 45:49.740 better sense again of what this might have looked like in 45:49.737 --> 45:52.937 ancient Roman times-- this wonderful contrast between 45:52.936 --> 45:55.056 the reddish, porphyry-like stone that 45:55.059 --> 45:56.909 probably would've come from Egypt; 45:56.909 --> 46:00.769 the multi-grained stone that might've come from North Africa; 46:00.768 --> 46:03.048 the kind of impact that this would've had. 46:03.050 --> 46:06.040 But again, most important for us, is what they're trying to do 46:06.041 --> 46:07.221 is create an illusion. 46:07.219 --> 46:09.969 They're trying to create, make something look like 46:09.974 --> 46:11.554 something it really isn't. 46:11.550 --> 46:16.490 They are using again stucco and paint to make a wall, 46:16.489 --> 46:20.249 to make a very plain wall, to make a rubble and stucco and 46:20.251 --> 46:23.091 painted wall into a very grandiose wall, 46:23.090 --> 46:25.860 that looked like walls that were probably the kinds of 46:25.858 --> 46:27.338 walls-- in fact we're sure they were 46:27.335 --> 46:30.085 the kinds of walls-- that decorated the palaces of 46:30.085 --> 46:33.455 great Hellenistic kings in the Hellenistic East. 46:33.460 --> 46:37.450 We know that the great kings of Pergamon, and some of the other 46:37.454 --> 46:40.744 kingdoms, had palaces that had real marble walls. 46:40.739 --> 46:44.119 And we think it's very likely that that is the sort of thing 46:44.119 --> 46:46.409 that they are trying to recreate here. 46:46.409 --> 46:48.899 And then a very, a particularly important point, 46:48.900 --> 46:52.470 I think, is the fact that even though I would love to lay claim 46:52.465 --> 46:54.935 to this particular style for the Romans, 46:54.940 --> 46:57.980 the Romans did not invent the First Style of Roman wall 46:57.980 --> 46:58.600 painting. 46:58.599 --> 47:00.889 They copied it from the Greeks. 47:00.889 --> 47:04.139 We know that the Greeks used this First Style of Roman wall 47:04.143 --> 47:07.173 paint -- it wasn't called the First Style of Roman wall 47:07.172 --> 47:09.082 painting, obviously, for them. 47:09.079 --> 47:12.269 But they used something comparable to the First Style, 47:12.271 --> 47:15.831 which we believe was derived from these Hellenistic palaces, 47:15.826 --> 47:16.726 ultimately. 47:16.730 --> 47:20.950 And you can see here a view of a wall, 47:20.949 --> 47:24.389 or a drawing of a wall, that was in-- 47:24.389 --> 47:27.639 and it's on your Monument List -- from the House of the Trident 47:27.643 --> 47:29.693 on the Island of Delos: late second, 47:29.690 --> 47:31.580 early first century B.C. 47:31.579 --> 47:38.249 The Island of Delos was strategically located between 47:38.246 --> 47:43.886 Italy and Greece and Asia Minor and so on. 47:43.889 --> 47:48.639 It was one of these crossroads of trade, and it was a place 47:48.641 --> 47:52.491 where Romans settled in the first centuries B.C. 47:52.490 --> 47:53.720 especially. 47:53.719 --> 47:56.689 And we see houses there--probably some Greek 47:56.688 --> 48:01.038 owners, some Roman owners--that have this same kind of style. 48:01.039 --> 48:02.039 It's painted. 48:02.039 --> 48:04.389 We see the same zones--I won't describe them again-- 48:04.389 --> 48:08.369 but the same architectural zones that we see in the First 48:08.373 --> 48:11.793 Style paintings in Pompeii and in Herculaneum. 48:11.789 --> 48:16.149 And we believe that those are based on Hellenistic precedents. 48:16.150 --> 48:19.100 But they show us again that this was used in the Greek East. 48:19.099 --> 48:21.729 It was probably picked up by some of the traders, 48:21.728 --> 48:23.918 brought back to Italy, and used there. 48:23.920 --> 48:26.530 The fact that it's a Greek import is extremely important, 48:26.530 --> 48:29.160 because then we can group it with all the other Greek imports 48:29.155 --> 48:31.165 that we've been talking about: the columns, 48:31.170 --> 48:33.550 the peristyles, the Alexander mosaic; 48:33.550 --> 48:37.540 all of the things that the Romans, the Hellenizing elements 48:37.539 --> 48:41.599 that we have seen the Romans be particularly fond of in this 48:41.597 --> 48:45.587 early period and have used themselves in their architecture 48:45.586 --> 48:48.266 and in their architectural decor. 48:48.268 --> 48:51.368 So we see that here, again, the taking over of a 48:51.371 --> 48:55.071 Greek style of organizing and decorating a wall for these 48:55.068 --> 48:56.388 Roman buildings. 48:56.389 --> 49:00.079 This is a house we'll look at later in the semester at Ostia, 49:00.079 --> 49:02.949 the port city of Ostia, the so-called House of Cupid 49:02.951 --> 49:05.341 and Psyche, and we see the two lovers here, 49:05.340 --> 49:06.840 on a pedestal in the center. 49:06.840 --> 49:08.860 I show it to you here only--it's a much later 49:08.862 --> 49:10.592 structure-- but I show it to you only 49:10.590 --> 49:12.700 because you'll see, when we get to that, 49:12.695 --> 49:14.875 that the Romans do-- and we'll see it much earlier 49:14.880 --> 49:17.160 than that in fact-- the Romans do begin to revet 49:17.163 --> 49:19.413 some of their structures with marble-- 49:19.409 --> 49:21.709 this begins already in the age of Augustus, 49:21.710 --> 49:24.940 so we'll see it very soon--and eventually it becomes part of 49:24.940 --> 49:26.200 house design as well. 49:26.199 --> 49:29.409 So while this isn't as grandiose as a Hellenistic 49:29.413 --> 49:32.443 palace would've been, it does give you some idea of 49:32.440 --> 49:35.380 what a house would look like, or a palace would look like, 49:35.376 --> 49:38.106 that had marble on the floor and marble on the walls. 49:38.110 --> 49:41.280 And it's this kind of thing that they are trying to create 49:41.275 --> 49:43.745 the illusion of-- this is very subtle with 49:43.748 --> 49:46.198 pastels and so on-- but it's this kind of thing 49:46.197 --> 49:48.497 that they are trying to create the illusion of, 49:48.500 --> 49:51.250 with the Roman First Style. 49:51.250 --> 49:55.550 We see First Style Roman wall painting also in Rome, 49:55.552 --> 50:00.702 and in fact I can show you an even more spectacular example in 50:00.699 --> 50:01.459 Rome. 50:01.460 --> 50:04.350 It's from the House of the Griffins, and I show you a view 50:04.353 --> 50:06.133 into a great barrel vaulted room. 50:06.130 --> 50:08.470 We're walking along the corridor of a great barrel 50:08.469 --> 50:10.999 vaulted room in the House of the Griffins in Rome, 50:11.000 --> 50:14.210 on the Palatine Hill, in fact, under the later 50:14.206 --> 50:17.196 imperial palace of the emperor Domitian. 50:17.199 --> 50:20.539 It dates to 80 B.C.; this particular room, 50:20.543 --> 50:23.543 which we call Room 3, dates to 80 B.C. 50:23.539 --> 50:25.929 It's from this room that the house gets its name. 50:25.929 --> 50:28.799 You can get a glimpse of--and I'll show you a better view in a 50:28.804 --> 50:30.034 moment--of the griffins. 50:30.030 --> 50:33.320 There are heraldic griffins in a lunette, painted red in the 50:33.324 --> 50:34.054 background. 50:34.050 --> 50:36.870 They're made out of--they're built up in stucco -- and then 50:36.869 --> 50:38.619 the lunette itself is painted red. 50:38.619 --> 50:41.729 It's from those griffins that the house got its name. 50:41.730 --> 50:45.110 We are looking down the side of that house, and we see again 50:45.112 --> 50:48.382 that is built up in stucco, so it's still a kind of stucco 50:48.378 --> 50:49.008 relief. 50:49.010 --> 50:52.670 But if you look at the paintings on the walls, 50:52.670 --> 50:54.710 and on the back wall, the side wall or the back 50:54.713 --> 50:56.103 wall-- and I'll show you a better view 50:56.097 --> 50:57.587 here-- you will see that although we 50:57.585 --> 51:00.355 are dealing with something that looks like a First Style wall-- 51:00.360 --> 51:04.260 it's very flat, it's divided into architectural 51:04.255 --> 51:06.985 zones: the socle, the orthostats, 51:06.985 --> 51:11.065 the isodomic courses here-- that is all done entirely in 51:11.074 --> 51:12.594 paint, as you can see. 51:12.590 --> 51:13.860 It's not built up as a relief. 51:13.860 --> 51:18.110 The only relief here that we see is the relief that is used 51:18.110 --> 51:22.070 for the heraldic griffins, up in the uppermost part. 51:22.070 --> 51:25.540 When this was in better condition, a painting was made 51:25.543 --> 51:28.563 of it, and I show that painting to you here. 51:28.559 --> 51:31.659 And I hope this will give you a better sense than anything else 51:31.655 --> 51:34.545 I've shown you today of how glorious these things must have 51:34.550 --> 51:37.540 been in antiquity, and how again if you stood back 51:37.538 --> 51:39.538 from them, you might have been somewhat 51:39.541 --> 51:39.911 fooled. 51:39.909 --> 51:41.909 We see the wall here. 51:41.909 --> 51:45.149 We can see all the components that we've already described: 51:45.148 --> 51:47.898 the plinth, the socle, the orthostats, 51:47.902 --> 51:51.652 the isodomic courses, and then the lunette with the 51:51.648 --> 51:52.958 heraldic griffins. 51:52.960 --> 51:56.340 And again, the whole idea of this being to give you the 51:56.344 --> 51:59.924 impression that you are looking at a real marble wall, 51:59.920 --> 52:02.710 even though you are looking at a painted wall. 52:02.710 --> 52:09.640 Much more important for the development of Roman painting is 52:09.641 --> 52:15.401 another house that I'm going to show you here, 52:15.400 --> 52:21.850 52:21.849 --> 52:24.939 which is Room 2, in the House of the Griffins. 52:24.940 --> 52:27.270 And this dates a little bit later; 52:27.268 --> 52:30.038 it was done between 80 and 60 B.C. 52:30.039 --> 52:33.319 And we look at this; we will see that there are 52:33.315 --> 52:36.315 beginning to be some important changes here. 52:36.320 --> 52:39.320 As you look at this--you see we're looking at a 52:39.322 --> 52:42.522 barrel-vaulted room, once again -- all three walls 52:42.521 --> 52:45.331 well decorated and very well preserved. 52:45.329 --> 52:47.189 So we can see exactly what's going on here. 52:47.190 --> 52:50.280 As we look quickly, we see remnants of the First 52:50.284 --> 52:51.144 Style wall. 52:51.139 --> 52:54.709 We see that we have the same architectural zones--the 52:54.706 --> 52:58.276 plinths, the orthostats, the isodomic courses--and we 52:58.275 --> 53:00.535 have the same idea of marble. 53:00.539 --> 53:03.659 You can see that these variegated marble blocks and 53:03.655 --> 53:06.895 these red panels are meant to look again like marble, 53:06.896 --> 53:09.636 although this is done entirely in paint; 53:09.639 --> 53:13.319 there is no stucco used in this room whatsoever. 53:13.320 --> 53:15.240 Stucco is not used anywhere here. 53:15.239 --> 53:19.349 It's completely flat and it is painted as an illusionistic 53:19.353 --> 53:19.863 view. 53:19.860 --> 53:22.790 But as we look at this, we see although we get a sense 53:22.789 --> 53:25.829 that that First Style wall is kind of still present, 53:25.829 --> 53:29.449 we also see some again very important changes. 53:29.449 --> 53:32.429 We see the way in which they've treated the socle here, 53:32.429 --> 53:35.359 to create these kinds of illusionistic cubes that look 53:35.364 --> 53:38.304 almost as if they're projecting out into our space. 53:38.300 --> 53:42.940 Look also at what they've done by adding columns, 53:42.940 --> 53:46.480 columns that stand on bases, this colonnade that seems to 53:46.481 --> 53:50.071 encircle the room, the way a peristyle encircles a 53:50.074 --> 53:52.954 garden court, this introduction of columnar 53:52.949 --> 53:53.809 architecture. 53:53.809 --> 53:56.569 Again clearly under the influence of Greek architecture 53:56.568 --> 53:59.478 and clearly commensurate with what they're doing in temple 53:59.480 --> 54:03.220 architecture, what they're doing in sanctuary 54:03.215 --> 54:06.475 architecture, and also in house architecture. 54:06.480 --> 54:08.010 So we see those columns. 54:08.010 --> 54:11.600 And it looks as if those columns are resting on bases 54:11.601 --> 54:15.121 that are represented as if they're receding into the 54:15.123 --> 54:16.163 background. 54:16.159 --> 54:19.259 The artist has paid a lot of attention to trying to render 54:19.262 --> 54:20.462 them perspectivally. 54:20.460 --> 54:23.330 So although all of this is done in paint, 54:23.329 --> 54:26.959 we get the impression that what we're looking at is a colonnade 54:26.956 --> 54:29.626 that is in front of the wall-- it projects into the 54:29.630 --> 54:33.360 spectator's space-- and that what lies behind it is 54:33.356 --> 54:35.996 a kind of First Style wall. 54:36.000 --> 54:39.260 This is the very beginnings of what we call Second Style Roman 54:39.260 --> 54:41.720 wall painting: this introduction of columns; 54:41.719 --> 54:44.839 this introduction of elements that project into the viewer's 54:44.836 --> 54:46.826 space; this sense that you are looking 54:46.829 --> 54:49.519 at two levels of space, the level of space that is the 54:49.516 --> 54:52.446 wall, and then the level of space that projects in front of 54:52.454 --> 54:52.864 it. 54:52.860 --> 54:54.670 And look at the columns at the top of the columns. 54:54.670 --> 54:57.880 You will see they hold lintels, but those lintels also are 54:57.884 --> 55:00.314 shown as if they're receding into depth, 55:00.309 --> 55:03.699 and you can sort of barely see--and you'll see this better 55:03.699 --> 55:06.139 as you study this in the online images. 55:06.139 --> 55:09.629 You'll be able to see the actual coffered ceiling that is 55:09.628 --> 55:14.658 represented on the top, underneath those lintels, 55:14.663 --> 55:23.133 which again indicate that this is being represented in depth. 55:23.130 --> 55:25.260 And here you can see exactly what they're trying to do. 55:25.260 --> 55:29.160 They're trying to use paint and only paint to recreate the sort 55:29.161 --> 55:33.001 of thing that we saw in built architecture in the oecus 55:33.001 --> 55:36.341 in the House of the Silver Wedding: these columns that 55:36.338 --> 55:38.918 project in front of a painted wall. 55:42.237 --> 55:44.647 call Second Style Roman wall painting. 55:44.650 --> 55:48.870 This is the preeminent example of mature Second Style Roman 55:48.873 --> 55:50.043 wall painting. 55:50.039 --> 55:53.479 It is a scene in the Villa of the Mysteries. 55:53.480 --> 55:55.120 It's in one of the cubicula; 55:55.119 --> 55:58.939 cubiculum 16, at the Villa of the Mysteries 55:58.936 --> 55:59.946 in Pompeii. 55:59.949 --> 56:03.309 It dates to 60 to 50 B.C. 56:03.309 --> 56:06.929 It's a further development of what we saw in Room 2 of the 56:06.927 --> 56:08.447 House of the Griffins. 56:08.449 --> 56:11.739 We see the First Style wall is still present. 56:11.739 --> 56:14.159 We see the plinth; we see the socle; 56:14.159 --> 56:16.739 we see the orthostats; we see the isodomic blocks, 56:16.737 --> 56:19.097 although they are done entirely in paint. 56:19.099 --> 56:21.349 Again, no stucco here whatsoever. 56:21.349 --> 56:24.609 We see the columns have also been added, as is typical of 56:24.614 --> 56:25.494 Second Style. 56:25.489 --> 56:28.119 But here the columns are even more interesting, 56:28.119 --> 56:30.749 because we can see that the columns not only project from 56:30.748 --> 56:33.728 the wall themselves, but they support an 56:33.726 --> 56:37.516 entablature--e-n -t-a-b-l-a-t-u-r-e-- 56:37.518 --> 56:41.028 an entablature which projects out toward the spectator, 56:41.030 --> 56:43.910 and they tried to make that look as if it recedes into 56:43.905 --> 56:44.335 depth. 56:44.340 --> 56:48.290 We see another set of columns here that support a straight 56:48.286 --> 56:48.906 lintel. 56:48.909 --> 56:51.669 But then look, the lintel arches up in the 56:51.672 --> 56:52.282 center. 56:52.280 --> 56:56.150 This is called an arculated lintel, an arculated lintel. 56:56.150 --> 56:59.280 We have not seen an arculated lintel in built architecture. 56:59.280 --> 57:01.790 This is very early, 60 to 50 B.C. 57:01.789 --> 57:03.239 We are seeing it here. 57:03.239 --> 57:06.299 Why are we seeing it here and why are we not seeing it in 57:06.295 --> 57:09.345 built architecture is a very interesting issue and one we 57:09.351 --> 57:11.371 could debate in the online forum. 57:11.369 --> 57:13.489 We see that that First Style wall has been--oh, 57:13.487 --> 57:16.107 and we also see columns that support one of these lintels, 57:16.110 --> 57:18.910 with a coffered ceiling; the brown coffered ceiling up 57:18.905 --> 57:20.095 at the uppermost part. 57:20.099 --> 57:23.489 The First Style wall--this is a very complex painting and a very 57:23.487 --> 57:25.527 interesting painting intellectually. 57:25.530 --> 57:28.190 The First Style wall has been--it's there, 57:28.188 --> 57:30.068 but it's been dropped down. 57:30.070 --> 57:33.540 It's been dropped down, and now we can see something 57:33.539 --> 57:36.329 that lies behind that First Style wall. 57:36.329 --> 57:40.189 We see a view of this round structure, called a 57:40.186 --> 57:43.736 tholos--t-h-o-l-o-s; a round tholos. 57:43.739 --> 57:46.409 It's like the tholos that was at the top of the 57:46.414 --> 57:48.894 Sanctuary of Fortuna Primigenia, at Palestrina. 57:48.889 --> 57:52.989 It's a shrine of some sort, and that shrine is surrounded 57:52.994 --> 57:54.024 by blue sky. 57:54.018 --> 57:56.778 So that's something that's presumably outside. 57:56.780 --> 57:59.620 So the First Style wall has been dropped down, 57:59.619 --> 58:03.409 and now we have this vista or panorama of something that lies 58:03.405 --> 58:04.725 outside the wall. 58:04.730 --> 58:07.390 So we, in a sense, have three zones of space. 58:07.389 --> 58:10.119 We have the columns that project into the spectator's 58:10.119 --> 58:10.539 space. 58:10.539 --> 58:14.089 We have the First Style, or what's left of the First 58:14.094 --> 58:15.004 Style wall. 58:15.000 --> 58:18.770 And then we see a view through the wall, to something that lies 58:18.768 --> 58:21.198 beyond: a vista, a panorama, a window. 58:21.199 --> 58:25.009 It's like opening up the wall as a window, to what lies 58:25.005 --> 58:25.635 beyond. 58:25.639 --> 58:27.799 It's fictive again, in the same way that First 58:27.804 --> 58:29.444 Style wall painting was fictive. 58:29.440 --> 58:32.240 It creates an illusion of something that is there, 58:32.235 --> 58:33.715 that isn't really there. 58:33.719 --> 58:36.869 And it coincides certainly with the kind of development we've 58:36.873 --> 58:38.933 been tracing also in built architecture: 58:38.925 --> 58:41.655 this opening up of the house; opening up of the windows; 58:41.659 --> 58:45.069 opening up bay windows, to views that lie beyond. 58:45.070 --> 58:48.050 There're also these mysterious things that are called, 58:48.050 --> 58:50.640 that people usually refer to as "the black curtains" 58:50.643 --> 58:52.263 in Second Style Roman wall painting. 58:52.260 --> 58:55.910 You can see this black element that looks almost as if it were 58:55.905 --> 58:59.365 a curtain that's been dropped down to reveal the scene that 58:59.373 --> 59:00.333 lies beyond. 59:00.329 --> 59:02.719 Because of this, and because of the columns, 59:02.719 --> 59:06.369 the projecting columns, many scholars have suggested 59:06.365 --> 59:10.435 that there's some relationship between this and theatrical 59:10.442 --> 59:13.282 architecture-- theatrical architecture that 59:13.275 --> 59:15.425 was probably stage sets and the like, 59:15.429 --> 59:17.299 that were probably initially made out of wood, 59:17.300 --> 59:20.500 that don't survive any longer--and that these may 59:20.500 --> 59:22.900 imitate some of those stage sets, 59:22.900 --> 59:25.900 and that this may be an actual curtain used in theatrical 59:25.896 --> 59:26.696 performances. 59:26.699 --> 59:30.179 But there are other ways to think about those black 59:30.182 --> 59:31.492 curtains, so to speak, 59:31.494 --> 59:33.594 and I think we don't have time to do that here now, 59:33.590 --> 59:37.930 but we should definitely engage on that in the online forum. 59:37.929 --> 59:41.539 Oh and I do want to say one last thing-- 59:41.539 --> 59:43.849 we're going to look at one more example of Second Style Roman 59:43.853 --> 59:46.133 wall painting-- one thing, one distinction that 59:46.134 --> 59:49.334 I want to make between the First and the Second Style is while 59:49.331 --> 59:52.581 the First Style of Roman wall painting was a Greek import, 59:52.579 --> 59:54.359 there is nothing like the Second Style, 59:54.360 --> 59:57.090 as we've just described it, anywhere in Greek art. 59:57.090 --> 1:00:01.230 The Second Style of Roman wall painting is without any question 1:00:01.230 --> 1:00:04.220 a Roman innovation, and an extraordinary Roman 1:00:04.221 --> 1:00:06.781 innovation at that, and one that is very closely 1:00:06.778 --> 1:00:08.818 allied with developments in architecture, 1:00:08.820 --> 1:00:10.850 as we've described them. 1:00:10.849 --> 1:00:15.269 This is another example, the Villa of Publius Fannius 1:00:15.268 --> 1:00:18.158 Sinistor: Second Style painting. 1:00:18.159 --> 1:00:20.799 Dates to 50 to 40 B.C. 1:00:20.800 --> 1:00:24.090 It was in that town of Boscoreale that I showed you on 1:00:24.090 --> 1:00:26.840 the map before, between Herculaneum and 1:00:26.840 --> 1:00:31.310 Pompeii, and it was removed from there at one point and made its 1:00:31.311 --> 1:00:32.661 way to New York. 1:00:32.659 --> 1:00:35.439 It is now in the Metropolitan, and has been for a long time, 1:00:35.436 --> 1:00:37.126 in the Metropolitan Museum of Art; 1:00:37.130 --> 1:00:39.810 it is usually referred to as The Met Cubiculum. 1:00:39.809 --> 1:00:42.179 And if you haven't seen it, you should go down and see it. 1:00:42.179 --> 1:00:43.249 It is most extraordinary. 1:00:43.250 --> 1:00:46.290 They've tried to recreate--the paintings are all ancient-- 1:00:46.289 --> 1:00:49.259 but they've tried to recreate the ambience by putting a black 1:00:49.262 --> 1:00:51.942 and white mosaic on the floor and giving us a nice, 1:00:51.940 --> 1:00:53.530 comfortable, sort of, bed, 1:00:53.527 --> 1:00:57.457 and a footstool over here, that are just the kind of thing 1:00:57.458 --> 1:01:00.018 that you would've seen in that room, 1:01:00.018 --> 1:01:01.338 although they don't actually belong. 1:01:01.340 --> 1:01:04.210 And they've added a window and so on and so forth. 1:01:04.210 --> 1:01:07.910 But the paintings are all genuine ancient paintings. 1:01:07.909 --> 1:01:10.659 And what's amazing is we have the entire spread of the room. 1:01:10.659 --> 1:01:13.999 And actually there are mirror images, the scenes are mirror 1:01:14.001 --> 1:01:16.941 images of one another, across the two long walls. 1:01:16.940 --> 1:01:18.660 I want to show you just a couple of details. 1:01:18.659 --> 1:01:25.899 This is a detail from that room that shows a tholos seen 1:01:25.898 --> 1:01:27.998 through columns. 1:01:28.000 --> 1:01:30.400 Once again we see here--this is an example of Second Style, 1:01:30.400 --> 1:01:32.600 but it's a little bit more developed here, 1:01:32.599 --> 1:01:35.679 because you can see that the First Style wall has really been 1:01:35.675 --> 1:01:37.105 dropped down now, and, in fact, 1:01:37.112 --> 1:01:38.862 it doesn't even look like a First Style wall anymore, 1:01:38.860 --> 1:01:42.630 it just looks like a red parapet with a green frieze and 1:01:42.625 --> 1:01:44.675 a little cornice at the top. 1:01:44.679 --> 1:01:47.259 But it doesn't really look like a First Style wall. 1:01:47.260 --> 1:01:50.990 In fact, it looks like a wall with a gate that doesn't look 1:01:50.985 --> 1:01:53.935 like there's any knob or anything like that; 1:01:53.940 --> 1:01:56.100 so we kind of wonder, can we get into this? 1:01:56.099 --> 1:01:57.019 Do we have to jump over it? 1:01:57.018 --> 1:01:59.278 How do we get from here into what lies beyond? 1:01:59.280 --> 1:02:00.180 We're not absolutely sure. 1:02:00.179 --> 1:02:03.689 But we see a tholos once again, one of these sort of 1:02:03.690 --> 1:02:04.720 sacred shrines. 1:02:04.719 --> 1:02:08.889 And here you can see it is surrounded by a peristyle, 1:02:08.891 --> 1:02:13.631 by columns: a peristyle just like one might find in a house, 1:02:13.625 --> 1:02:15.065 or in a villa. 1:02:15.070 --> 1:02:16.460 So what are we looking at here? 1:02:16.460 --> 1:02:20.260 We see columns that support a pediment. 1:02:20.260 --> 1:02:22.800 The pediment if you look--a triangular pediment. 1:02:22.800 --> 1:02:25.520 What's interesting about it is it's broken at the bottom. 1:02:25.518 --> 1:02:27.748 The Greeks would never break their pediments. 1:02:27.750 --> 1:02:31.600 The Romans have broken this pediment to allow space for the 1:02:31.597 --> 1:02:34.117 tholos to rise up between it. 1:02:34.119 --> 1:02:35.779 And it's a very interesting thing to do, 1:02:35.780 --> 1:02:38.630 and it shows while on one hand they respect ancient Greek 1:02:38.626 --> 1:02:41.116 architecture, they're also willing to depart 1:02:41.119 --> 1:02:43.479 from it and break the rules, so to speak. 1:02:43.480 --> 1:02:47.260 And we're going to see that's emphasized by the Romans later 1:02:47.259 --> 1:02:47.579 on. 1:02:47.579 --> 1:02:48.809 So the tholos here. 1:02:48.809 --> 1:02:50.539 So we have these different elements. 1:02:50.539 --> 1:02:52.369 We have the columns projecting toward us. 1:02:52.369 --> 1:02:54.589 We have the wall of the gateway. 1:02:54.590 --> 1:02:58.020 We also have this view through the window, a picture window, 1:02:58.016 --> 1:02:59.406 into what lies beyond. 1:02:59.409 --> 1:03:02.799 And we seem to have these black curtains again; 1:03:02.800 --> 1:03:04.630 in fact, we have three of these black curtains. 1:03:04.630 --> 1:03:08.140 So we ask ourselves again, what are those exactly? 1:03:08.139 --> 1:03:11.149 Another view, just showing you this in 1:03:11.148 --> 1:03:16.028 relationship to the House of the Faun, and this whole idea of 1:03:16.025 --> 1:03:20.005 vista and panorama, from one part to another. 1:03:20.010 --> 1:03:22.170 We see the same thing happening in painting as we see happening 1:03:22.170 --> 1:03:22.520 in that. 1:03:22.518 --> 1:03:28.768 And then one last detail of the Publius Fannius Met Cubiculum 1:03:28.768 --> 1:03:30.018 over here. 1:03:30.018 --> 1:03:33.548 A very interesting detail, and I urge you to explore this 1:03:33.547 --> 1:03:36.697 on your own, because it's so fascinating in detail, 1:03:36.697 --> 1:03:37.767 this doorway. 1:03:37.768 --> 1:03:41.538 And then most interesting of all this panoply of structures 1:03:41.541 --> 1:03:44.401 that seem to be piled, one on top of another, 1:03:44.402 --> 1:03:46.162 in a series of stories. 1:03:46.159 --> 1:03:47.559 This again is very early. 1:03:47.559 --> 1:03:51.039 It's 50 to 40 B.C. 1:03:51.039 --> 1:03:54.429 We don't see anything like that in built architecture then. 1:03:54.429 --> 1:03:56.849 We only see second stories beginning to be added in 1:03:56.853 --> 1:03:59.483 Pompeian structures, Herculaneum structures, 1:03:59.481 --> 1:04:01.981 between the earthquake and Vesuvius, 1:04:01.980 --> 1:04:03.790 between 62 and 79. 1:04:03.789 --> 1:04:06.379 But here, already, in the mid-century B.C., 1:04:06.378 --> 1:04:08.348 we see this depicted in paint. 1:04:08.349 --> 1:04:09.589 Is this fanciful? 1:04:09.590 --> 1:04:12.550 Is it based on something that was built in wood that no longer 1:04:12.554 --> 1:04:13.094 survives? 1:04:13.090 --> 1:04:15.920 These are questions, perhaps unanswerable questions, 1:04:15.922 --> 1:04:17.702 but ones well worth pondering. 1:04:17.699 --> 1:04:20.829 I want to show you, in the few minutes that remain, 1:04:20.827 --> 1:04:22.827 just two more houses, quickly. 1:04:22.829 --> 1:04:25.829 One of them--both of them--are important though, 1:04:25.833 --> 1:04:28.783 because they belong to the emperor and empress, 1:04:28.775 --> 1:04:30.625 to Augustus and to Livia. 1:04:30.630 --> 1:04:34.200 Augustus purchased some property on the Palatine Hill. 1:04:34.199 --> 1:04:37.299 He wanted to live--as Rome's first emperor of Rome--he wanted 1:04:37.297 --> 1:04:40.187 to live where Romulus had lived before him, of course. 1:04:40.190 --> 1:04:44.090 And he buys some property up here, builds a house. 1:04:44.090 --> 1:04:48.100 He puts a temple to his patron god, right next door, 1:04:48.097 --> 1:04:52.497 Apollo, and then Livia has her own house right across the 1:04:52.498 --> 1:04:54.618 street: his wife Livia. 1:04:54.619 --> 1:04:56.779 She lives with him in his house, but she's also got her 1:04:56.780 --> 1:04:58.220 own house right across the street. 1:04:58.219 --> 1:05:03.009 And both of these houses were decorated with paintings. 1:05:03.010 --> 1:05:05.090 I want to show you first the ones in the House of Augustus, 1:05:05.094 --> 1:05:06.714 the most famous room in the House of Augustus, 1:05:06.713 --> 1:05:07.903 called the Room of the Masks. 1:05:07.900 --> 1:05:11.240 And here is where we see most clearly the possible 1:05:11.237 --> 1:05:15.597 relationship between Roman wall painting of the Second Style-- 1:05:15.599 --> 1:05:18.139 because this is also Second Style Roman wall painting-- 1:05:18.139 --> 1:05:19.929 and the theater. 1:05:19.929 --> 1:05:22.979 If you look at the restored view at the top, 1:05:24.900 --> 1:05:26.350 as we think it would've looked--a theater stage 1:05:26.351 --> 1:05:28.341 building, as we think it would have 1:05:28.342 --> 1:05:30.852 looked early on; possibly made out of wood, 1:05:30.851 --> 1:05:34.161 again, rather than stone--you can see it has a central section 1:05:34.161 --> 1:05:36.661 with a pediment, and then it has two wings. 1:05:36.659 --> 1:05:39.729 And we see the same scheme here: the central section, 1:05:39.730 --> 1:05:42.250 which is called technically a regia in theater 1:05:42.253 --> 1:05:44.873 architecture-- r-e-g-i-a--and then two wings 1:05:44.867 --> 1:05:47.907 that are technically called hospitalia, 1:05:47.909 --> 1:05:52.759 h-o-s-p-i-t-a-l-i-a; hospitalia. 1:05:52.760 --> 1:05:56.180 So this tripartite scheme of a Roman theater. 1:05:56.179 --> 1:05:59.489 And if that is lost on us, note that there are masks, 1:05:59.489 --> 1:06:02.929 one on either side, theatrical masks that also give 1:06:02.934 --> 1:06:06.314 us a hint that we are looking at a theater set. 1:06:06.309 --> 1:06:09.149 Here's a more vivid view of one of the walls, 1:06:09.152 --> 1:06:12.642 where you can see that tripartite division into central 1:06:12.639 --> 1:06:14.319 section and two wings. 1:06:14.320 --> 1:06:18.740 You can see the masks, and you can see a view into 1:06:18.742 --> 1:06:21.002 some sort of landscape. 1:06:21.000 --> 1:06:23.440 The sky is no longer blue, it's white, but it does 1:06:23.443 --> 1:06:25.843 continue back beyond, behind the architecture. 1:06:25.840 --> 1:06:28.750 So you get the sense that you're being beckoned into--in 1:06:28.746 --> 1:06:30.806 fact, there's no barrier here at all. 1:06:30.809 --> 1:06:32.299 The wall is gone here. 1:06:32.300 --> 1:06:33.210 There's no gateway. 1:06:33.210 --> 1:06:35.400 You can walk right in to this. 1:06:35.400 --> 1:06:36.160 What is this? 1:06:36.157 --> 1:06:39.017 There's no blue sky, so it doesn't look as real as 1:06:39.018 --> 1:06:40.068 the others did. 1:06:40.070 --> 1:06:42.660 It's not the sort of thing that might have been right outside 1:06:42.664 --> 1:06:43.794 your window, of a house. 1:06:43.789 --> 1:06:45.499 It's some kind of sacred landscape, 1:06:45.500 --> 1:06:47.350 some kind of strange sacred landscape, 1:06:47.349 --> 1:06:51.199 with a curved colonnade, with a tree, 1:06:51.199 --> 1:06:56.229 and with a very phallic-looking shrine here in the center; 1:06:56.230 --> 1:06:58.310 some kind of sacred space. 1:06:58.309 --> 1:07:01.549 We call these sacro-idyllic landscapes: sort of idyllic and 1:07:01.547 --> 1:07:04.727 sacred at the same time that you're being beckoned into to 1:07:04.730 --> 1:07:05.400 explore. 1:07:05.400 --> 1:07:08.410 Again, this is a stage set of some sort? 1:07:08.409 --> 1:07:10.489 Or is it something else? 1:07:10.489 --> 1:07:13.659 Is it something that has religious connotations? 1:07:13.659 --> 1:07:18.329 The other interesting thing about the Room of the Masks in 1:07:18.327 --> 1:07:23.647 the House of Augustus is that some scholars have claimed that, 1:07:23.650 --> 1:07:26.160 although it is usually said that one-point linear 1:07:26.164 --> 1:07:28.714 perspective, in which all lines converge at 1:07:28.706 --> 1:07:32.226 a single point in the distance, was invented in the 1:07:32.226 --> 1:07:37.236 Renaissance, a case can be made that it was invented in Roman 1:07:37.237 --> 1:07:37.987 times. 1:07:37.989 --> 1:07:41.439 And if it happened, it happened here in this house 1:07:41.436 --> 1:07:42.666 where-- and scholars, 1:07:42.672 --> 1:07:45.392 even of the Renaissance, have studied the way in which 1:07:45.391 --> 1:07:47.531 these points converge in this painting, 1:07:47.530 --> 1:07:50.450 all the way to a point at the end. 1:07:50.449 --> 1:07:53.189 So if that's true, the Romans may have done that, 1:07:53.193 --> 1:07:55.713 perhaps inadvertently, perhaps on purpose. 1:07:55.710 --> 1:07:57.110 They were very interested in perspective. 1:07:57.110 --> 1:07:59.400 I'll say a bit more about that in a moment. 1:07:59.400 --> 1:08:02.590 But if they invented it here, they quickly rejected it, 1:08:02.585 --> 1:08:05.355 as we're going to see in next week's lecture. 1:08:05.360 --> 1:08:08.030 Just a couple of details: the mask and the beautiful way 1:08:08.032 --> 1:08:09.882 in which this very talented artist, 1:08:09.880 --> 1:08:11.700 probably one of the best artists of the day, 1:08:11.699 --> 1:08:16.669 has built up this mask out of touches of grey and white and 1:08:16.672 --> 1:08:21.032 black; an extraordinary thing. 1:08:21.029 --> 1:08:24.919 And then again I really do urge you to look at these paintings 1:08:24.921 --> 1:08:28.561 in detail, because if you do you will be very rewarded. 1:08:28.560 --> 1:08:31.970 You'll see all kinds of strange creatures, like winged figures, 1:08:31.966 --> 1:08:34.326 this very strange thing lurking up there. 1:08:34.329 --> 1:08:36.259 Is that vegetal? Is it animal? 1:08:36.260 --> 1:08:37.680 Is it human? What is that? 1:08:37.680 --> 1:08:39.960 These wonderful, what look like swans, 1:08:39.962 --> 1:08:42.062 golden swans that decorate this. 1:08:42.060 --> 1:08:44.850 When you look very close, you can see there's a figural 1:08:44.854 --> 1:08:45.584 frieze here. 1:08:45.578 --> 1:08:48.978 And look at that wonderful representation of the fruit or 1:08:48.975 --> 1:08:52.405 vegetables in a bowl, a bowl that is represented so 1:08:52.413 --> 1:08:55.633 magnificently and translucently by the artist. 1:08:55.630 --> 1:08:58.890 In the maybe three minutes or so that remain, 1:08:58.890 --> 1:09:02.040 I want to show you one last painting, 1:09:02.038 --> 1:09:04.098 and it's a very special painting indeed, 1:09:04.100 --> 1:09:06.740 and I think it ties together everything that we've been 1:09:06.743 --> 1:09:07.823 talking about today. 1:09:07.819 --> 1:09:11.319 It is a painting from, not the House of Livia, 1:09:11.319 --> 1:09:12.739 where there are some preserved paintings-- 1:09:12.738 --> 1:09:15.618 we're not going to look at those--but from a villa of 1:09:15.621 --> 1:09:17.871 Livia, located north of Rome at a 1:09:17.872 --> 1:09:20.912 place called Primaporta: the Villa of Livia at 1:09:20.905 --> 1:09:21.845 Primaporta. 1:09:21.850 --> 1:09:25.780 And it is in a sense the ultimate example and a very last 1:09:25.780 --> 1:09:28.800 gasp of Second Style Roman wall painting. 1:09:28.800 --> 1:09:32.380 The villa was put up in 30 to 25 B.C. 1:09:32.380 --> 1:09:36.410 A barrel-vaulted room was decorated with this gardenscape. 1:09:36.408 --> 1:09:38.578 Now as you look at this, you'd probably say to me: 1:09:38.581 --> 1:09:41.331 "That doesn't look like anything we've looked at today. 1:09:41.328 --> 1:09:44.248 There's no architecture there, there's no remnants of a First 1:09:44.247 --> 1:09:44.877 Style wall. 1:09:44.880 --> 1:09:46.410 There are no projecting columns. 1:09:46.409 --> 1:09:47.779 There are no black curtains. 1:09:47.779 --> 1:09:49.029 And so on and so forth. 1:09:49.029 --> 1:09:51.499 It's very different from anything we've seen." 1:09:51.500 --> 1:09:53.540 But we categorize this as a Second Style wall. 1:09:53.539 --> 1:09:54.939 Why do we do that? 1:09:54.939 --> 1:09:57.739 Because there's a division between where we stand as 1:09:57.743 --> 1:10:00.663 spectator and the space that lies beyond the fence. 1:10:00.658 --> 1:10:03.488 There is a fence that divides our space from the space that 1:10:03.488 --> 1:10:07.578 lies outside, but it's a very delicate fence, 1:10:07.581 --> 1:10:09.761 a white, kind of lattice fence, 1:10:09.764 --> 1:10:12.754 not unlike the one we saw in the Samnite House on the second 1:10:12.752 --> 1:10:13.212 story. 1:10:13.210 --> 1:10:15.460 We don't have columns, we have trees, 1:10:15.456 --> 1:10:17.636 a different kind of upright here. 1:10:17.640 --> 1:10:21.850 But what connects this to the Second Style is that it is the 1:10:21.851 --> 1:10:25.991 ultimate example of a Roman painting as a panoramic picture 1:10:25.993 --> 1:10:26.783 window. 1:10:26.779 --> 1:10:30.119 This is what they hoped you would see when you looked out of 1:10:30.118 --> 1:10:33.228 the rooms of your house, of your great bay window in the 1:10:33.230 --> 1:10:34.760 Villa of the Mysteries. 1:10:34.760 --> 1:10:38.660 If you didn't see the sea, you would see some glorious 1:10:38.658 --> 1:10:42.188 landscape, a gardenscape, outside of your window, 1:10:42.189 --> 1:10:44.029 with beautiful trees. 1:10:44.029 --> 1:10:46.559 If you look at these with care, you will see that this is an 1:10:46.555 --> 1:10:48.605 artist who understood nature and observed it, 1:10:48.609 --> 1:10:52.239 who knew the difference among the fruits that would be on 1:10:52.238 --> 1:10:54.848 trees like this-- there are fruit trees here-- 1:10:54.851 --> 1:10:57.721 who had a sense of the way in which birds would alight on a 1:10:57.715 --> 1:10:59.585 leaf, if they were headed toward one; 1:10:59.590 --> 1:11:03.880 who had a sense of the way in which leaves would rustle in the 1:11:03.877 --> 1:11:05.937 breeze; who had a sense of the way in 1:11:05.936 --> 1:11:09.086 which light can fall differently on a leaf, so that you sometimes 1:11:09.086 --> 1:11:11.346 see the lighted side or the side in shadow. 1:11:11.350 --> 1:11:15.130 This is an artist who has really observed nature and has 1:11:15.128 --> 1:11:16.708 depicted what he saw. 1:11:16.710 --> 1:11:19.040 And here are a couple of details where you can see that 1:11:19.037 --> 1:11:20.157 very well, of this tree. 1:11:20.158 --> 1:11:22.788 You see what I mean by some leaves cast in shadows; 1:11:22.788 --> 1:11:25.508 some leaves have light shining on them. 1:11:25.510 --> 1:11:27.430 You get a sense of the breeze. 1:11:27.430 --> 1:11:31.130 You get this wonderful way in which this black bird alights on 1:11:31.134 --> 1:11:34.734 the edge of a leaf, this bird over here surveying 1:11:34.733 --> 1:11:37.753 this piece of fruit, deciding whether he wants to 1:11:37.753 --> 1:11:38.503 peck it or not. 1:11:38.500 --> 1:11:40.160 This is very sophisticated stuff. 1:11:40.158 --> 1:11:44.518 And you can also see, if you explore this painting a 1:11:44.515 --> 1:11:46.935 bit more, that it has and that it 1:11:46.936 --> 1:11:50.396 partakes of what we call today atmospheric perspective, 1:11:50.399 --> 1:11:53.519 not one-point perspective, but atmospheric perspective. 1:11:53.520 --> 1:11:55.340 What is atmospheric perspective? 1:11:55.340 --> 1:11:58.030 If you look at this carefully, you will see that all of the 1:11:58.027 --> 1:12:00.297 items that are in--all the objects that are in the 1:12:00.296 --> 1:12:02.286 foreground have very distinct outlines; 1:12:02.288 --> 1:12:04.958 whereas those in the middle ground are a little fuzzier; 1:12:04.960 --> 1:12:07.600 and those way in the background are fuzzier still. 1:12:07.600 --> 1:12:10.350 And there are actually--you probably could barely see them-- 1:12:10.350 --> 1:12:12.430 but there are actually mountains in the distance, 1:12:12.430 --> 1:12:15.100 and those mountains in the distance are so fuzzy in their 1:12:15.097 --> 1:12:17.097 silhouette that you can barely see them. 1:12:17.100 --> 1:12:19.800 But you get this sense of space, of moving back, 1:12:19.796 --> 1:12:22.606 because of this use of atmospheric perspective. 1:12:22.609 --> 1:12:25.839 So this, the ultimate Roman painting, 1:12:25.840 --> 1:12:29.190 Second Style, the Roman painting as panorama, 1:12:29.189 --> 1:12:32.199 that again corresponds so well to all the discussions we've 1:12:32.198 --> 1:12:35.258 been having the last couple of lectures of this move towards 1:12:35.260 --> 1:12:37.930 increased vista, increased panorama, 1:12:37.930 --> 1:12:41.510 both in painting and also in architecture. 1:12:41.510 --> 1:12:42.200 Thanks guys. 1:12:42.199 --> 1:12:47.999