WEBVTT 00:02.130 --> 00:03.910 Prof: Good morning everyone. 00:03.910 --> 00:07.310 As you can see from today's lecture title, 00:07.308 --> 00:12.358 we're going to be talking about painting palaces and villas in 00:12.364 --> 00:14.524 the first century A.D. 00:14.520 --> 00:18.960 But I could also call this lecture a lecture on Third and 00:18.963 --> 00:21.823 Fourth Style Roman wall painting, 00:21.820 --> 00:26.410 because we're going to continue our conversation today about the 00:26.406 --> 00:30.116 four architectural styles of Roman wall painting. 00:30.120 --> 00:35.010 In order to do that, I just want to remind you of 00:35.014 --> 00:38.384 what we talked about last time. 00:38.380 --> 00:41.940 We covered the First and Second Styles of Roman wall painting, 00:41.940 --> 00:45.440 and you'll remember that what they had in common is that they 00:45.437 --> 00:48.757 both tried to create an illusion of what they weren't, 00:48.760 --> 00:50.110 in a sense. 00:50.110 --> 00:56.030 Think back to the First Style of Roman wall painting, 00:56.030 --> 00:59.180 when the painters tried to transform a rubble wall into a 00:59.177 --> 01:01.687 marble wall, to create the illusion that it 01:01.692 --> 01:05.502 was indeed a marble wall, rather than a rubble wall. 01:05.500 --> 01:07.850 And in the case of the Second Style-- 01:07.849 --> 01:10.509 and I show you two examples again of that here, 01:10.510 --> 01:16.580 the detail from the Villa of Publius Fannius Sinistor, 01:16.580 --> 01:18.560 on the left-hand side of the screen, 01:18.560 --> 01:20.660 now in the Metropolitan Museum of Art, 01:20.659 --> 01:24.889 and the House of Augustus, the Room of the Masks in the 01:24.893 --> 01:28.753 House of Augustus, on the Palatine Hill in Rome, 01:28.754 --> 01:32.654 both examples of Second Style Roman wall painting. 01:32.650 --> 01:36.530 And we saw in this instance that the illusion was to create 01:36.530 --> 01:40.010 the sense that you were looking through a window, 01:40.010 --> 01:41.830 to transform, once again, the rubble wall 01:41.827 --> 01:44.597 into a window, a window that showed what might 01:44.595 --> 01:47.605 lie outside the villa, in the peristyle court, 01:47.614 --> 01:48.454 for example. 01:48.450 --> 01:51.120 Remember this one, with the shrine or 01:51.116 --> 01:55.856 tholos that is surrounded by blue sky and looks like it is 01:55.855 --> 01:59.185 located perhaps in a domestic peristyle, 01:59.190 --> 02:04.760 and then over here this window that opens onto a sacro-idyllic 02:04.763 --> 02:05.863 landscape. 02:05.858 --> 02:10.178 We are being beckoned into that sacro-idyllic landscape to 02:10.175 --> 02:14.185 explore the sacred items within it and even beyond. 02:14.188 --> 02:17.028 So opening up these walls illusionistically, 02:17.030 --> 02:21.800 to create an illusion in both, but in the case of the Second 02:21.801 --> 02:24.021 Style, to open the wall up 02:24.020 --> 02:27.240 illusionistically as a panoramic window. 02:27.240 --> 02:32.480 We also explored the fact that in the Second Style the Roman 02:32.484 --> 02:34.974 designers, the Roman painters, 02:34.972 --> 02:38.342 seemed to have experimented with one-point linear 02:38.337 --> 02:41.627 perspective, this perspective in which all 02:41.628 --> 02:45.368 points recede to a single point in the distance, 02:45.370 --> 02:49.410 and that we see that use of one-point perspective in the 02:49.405 --> 02:53.435 Second Style wall paintings in the Room of the Masks. 02:53.440 --> 02:56.400 We also talked about the relationship between Second 02:56.401 --> 02:59.771 Style Roman wall painting and theatrical architecture -- 02:59.770 --> 03:03.040 that they may have been looking at actual theaters, 03:03.038 --> 03:05.598 possibly in wood, possibly in other more 03:05.599 --> 03:08.619 permanent materials that no longer survive, 03:08.620 --> 03:10.460 or they may have been creating this, 03:10.460 --> 03:12.270 in part, out of whole cloth. 03:12.270 --> 03:14.450 So this connection to the theater, 03:14.449 --> 03:19.079 and the one last point that I want to remind you of is the 03:19.077 --> 03:21.997 fact that we also discussed that, 03:22.000 --> 03:23.470 although there's an enormous respect for earlier Greek 03:23.473 --> 03:25.863 architecture, not only in these painting but 03:25.857 --> 03:29.667 in the temples and in the cities and in the sanctuaries that 03:29.665 --> 03:33.385 we've already explored, and we see the Roman painters 03:33.391 --> 03:36.471 using those elements of Greek architecture-- 03:36.470 --> 03:38.380 columns and pediments and the like-- 03:38.378 --> 03:41.598 in the Second Style, we also see that they are 03:41.601 --> 03:43.821 beginning to break the rules. 03:43.818 --> 03:45.438 They have a respect for Greek architecture, 03:45.440 --> 03:48.610 but they're also willing to bend the rules, 03:48.610 --> 03:51.380 an example being, of course, their use of the 03:51.377 --> 03:54.897 triangular pediment here, but they have broken that 03:54.901 --> 03:59.131 triangular pediment apart to reveal the tholos here. 03:59.128 --> 04:00.738 This is a very important development, 04:00.740 --> 04:04.280 and we saw it already also in the Sanctuary of Fortuna 04:04.278 --> 04:07.748 Primigenia at Palestrina, where you'll remember the 04:07.746 --> 04:11.576 column capitals in the ramp and how they slanted those column 04:11.578 --> 04:15.088 capitals in a way that Greek architects never would have 04:15.091 --> 04:15.731 done. 04:15.729 --> 04:18.449 We see that same sort of breaking of the rules here. 04:18.449 --> 04:21.159 It's extremely important because it shows again that 04:21.163 --> 04:24.143 although they revered the past, they were willing to look 04:24.144 --> 04:25.534 forward to the future. 04:25.528 --> 04:28.328 And we're going to see, especially in the late first 04:28.331 --> 04:31.161 century A.D., into the second century A.D., 04:31.156 --> 04:34.106 further exploration of that kind of thing, 04:34.110 --> 04:39.740 and it's going to have a huge impact on Roman architecture. 04:39.740 --> 04:42.740 In order to explore the Third and Fourth Styles, 04:42.738 --> 04:46.498 I need to go to a couple of other cities than the ones we've 04:46.502 --> 04:47.972 looked at thus far. 04:47.970 --> 04:52.170 I have the map here once again that shows Campania. 04:52.170 --> 04:56.620 We are going to be looking at the city of -- or a villa -- in 04:56.620 --> 04:59.810 the town of Oplontis, which you see here. 04:59.810 --> 05:03.950 We'll also be looking at an important villa at Boscotrecase. 05:03.949 --> 05:09.409 And you can see the proximity of those two to the sites we've 05:09.413 --> 05:12.973 already discussed--Pompeii, Herculaneum, 05:12.966 --> 05:16.696 Boscoreale, and also Naples, up here. 05:16.699 --> 05:20.809 I want to look first at a villa, or the paintings at a 05:20.810 --> 05:22.440 villa, at Oplontis. 05:22.439 --> 05:28.019 This villa--and you see a plan of it here--appears to have 05:28.017 --> 05:33.887 belonged to a woman by the name of Poppaea--P-o-p-p-a-e-a. 05:33.889 --> 05:35.569 Who was Poppaea? 05:35.569 --> 05:40.499 Poppaea was first the mistress and then the wife of Rome's 05:40.504 --> 05:42.674 notorious emperor Nero. 05:42.670 --> 05:46.560 Initially it looked as if the two were soul mates because she 05:46.562 --> 05:50.002 seemed to have as much of a mean streak as he did, 05:50.000 --> 05:52.710 in that she encouraged him, quite avidly, 05:52.709 --> 05:57.649 to murder his mother, to murder his first wife, 05:57.649 --> 06:02.679 and even to murder the philosopher Seneca. 06:02.680 --> 06:05.780 But despite the fact that they seemed to have been soul mates, 06:05.778 --> 06:09.208 Nero turned against her, and in fact when she announced 06:09.213 --> 06:13.233 to him that she was pregnant, he kicked her in the stomach, 06:13.230 --> 06:14.870 which caused her death. 06:14.870 --> 06:18.180 But after her death he took advantage of her death and 06:18.177 --> 06:20.917 divinized her, made her a diva for his 06:20.923 --> 06:22.613 own political purposes. 06:22.610 --> 06:26.830 So a very interesting saga here, between Nero and his wife 06:26.829 --> 06:27.569 Poppaea. 06:27.569 --> 06:31.159 The reason that we think Poppaea owned this villa, 06:31.160 --> 06:34.820 or lived in this villa at some point-- 06:34.819 --> 06:38.529 and the villa dates, we believe, to 20 to 10 B.C.-- 06:38.529 --> 06:42.939 the reason we believe that she lived there is that there was an 06:42.939 --> 06:46.819 amphora, one of these terracotta pots, 06:46.819 --> 06:51.299 that was found in the excavation with the name of a 06:51.303 --> 06:53.913 freedman, a freedman of Poppaea, 06:53.913 --> 06:57.263 which suggests that she may well have lived there. 06:57.259 --> 07:00.339 The other interesting observation that archaeologists 07:00.336 --> 07:03.646 made when they excavated this particular house is that it 07:03.651 --> 07:07.141 looked like it had been empty at the time of the eruption of 07:07.142 --> 07:10.062 Vesuvius, when it had been indeed covered 07:10.062 --> 07:11.592 over with ash and lava. 07:11.588 --> 07:15.138 And they also found a lot of tools lying around the house, 07:15.141 --> 07:18.821 which led to their belief that the house was probably in the 07:18.817 --> 07:20.747 process of being renovated. 07:20.750 --> 07:24.920 It may have suffered damage in the earthquake and was in the 07:24.915 --> 07:27.735 process of being renovated, before reuse, 07:27.740 --> 07:30.000 at the time Vesuvius struck. 07:30.000 --> 07:34.050 If we look at this very good plan of what is preserved of 07:34.045 --> 07:37.185 this villa today, we can pick out a number of 07:37.189 --> 07:40.589 features that we've already become accustomed to in our 07:40.586 --> 07:42.846 study of Roman domestic architecture: 07:42.851 --> 07:44.301 houses and villas. 07:44.300 --> 07:47.310 We can see peristyle courts with columns, 07:47.314 --> 07:48.374 for example. 07:48.370 --> 07:51.970 We notice here the very large atrium, with the 07:51.970 --> 07:55.410 impluvium designated here in plan. 07:55.410 --> 07:58.110 There was a kitchen, an extensive kitchen, 07:58.105 --> 07:59.415 over here as well. 07:59.420 --> 08:04.150 We also see the use of columns, these colonnades that are part 08:04.151 --> 08:06.621 of peristyles, in some cases, 08:06.615 --> 08:11.365 but also are colonnades that look out from the villa toward 08:11.365 --> 08:15.155 what surrounds it -- the landscape and the sea and 08:15.161 --> 08:16.881 so on, that surround it. 08:16.879 --> 08:20.029 And it's another example of what we began to see in the 08:20.026 --> 08:23.286 second phase of the plan of the Villa of the Mysteries in 08:23.291 --> 08:25.501 Pompeii, and that is an opening up of 08:25.504 --> 08:28.384 the facade, an incorporation of a larger 08:28.384 --> 08:33.194 number of windows to make the facade lighter and more airy, 08:33.190 --> 08:36.750 as well as a series of colonnades with spectacular 08:36.754 --> 08:39.814 views toward what lay outside the villa. 08:39.808 --> 08:44.848 The most important room for us today is Room Number 8, 08:44.850 --> 08:49.420 over here, and that room is part of an interior bath, 08:49.418 --> 08:54.058 an elaborate interior bath, that was part of this villa. 08:54.058 --> 08:56.308 And Room Number 8, which is basically a 08:56.307 --> 08:59.007 rectangular room, as you can see here, 08:59.014 --> 09:03.364 was the caldarium or the warm room of that bath, 09:03.360 --> 09:07.130 and it has some very interesting paintings that will 09:07.125 --> 09:11.625 show us the transition between what we know of as Second Style 09:11.629 --> 09:15.909 Roman wall painting and what we term Third Style Roman wall 09:15.912 --> 09:17.022 painting. 09:17.019 --> 09:19.659 This is a view of the villa as it looks today. 09:19.658 --> 09:21.378 You can see, like Herculaneum, 09:21.379 --> 09:24.879 it is very closely surrounded by modern apartment houses and 09:24.876 --> 09:25.466 so on. 09:25.470 --> 09:27.060 Here you see it. 09:27.058 --> 09:29.978 It's only again part of what the original villa was. 09:29.980 --> 09:32.840 But even from this view, you can get a sense of how open 09:32.836 --> 09:35.016 it was compared to those very enclosed, 09:35.019 --> 09:38.209 severe Domus Italica houses that we began with. 09:38.210 --> 09:43.130 You see here this opening up, views through columns and 09:43.126 --> 09:46.246 doorways, but also these peristyle courts 09:46.245 --> 09:52.275 and colonnaded courts and so on, that again give this a very 09:52.284 --> 09:56.974 open appearance, which is part of again this 09:56.971 --> 10:01.101 important development toward that kind of openness. 10:01.100 --> 10:05.930 The villa has in it both Second and Third Style Roman wall 10:05.927 --> 10:08.467 paintings, which again makes it extremely 10:08.467 --> 10:10.907 interesting, because it is clear that there 10:10.913 --> 10:14.833 was some transitioning here, from one style to the other. 10:14.830 --> 10:18.030 And I should mention, by the way, that with regard to 10:18.028 --> 10:19.828 the First, Second, Third, 10:19.833 --> 10:23.073 and Fourth Styles, they weren't necessarily an 10:23.065 --> 10:24.975 evolution, a development, 10:24.980 --> 10:28.160 from one point to another; by that I mean I don't think 10:28.163 --> 10:30.913 the painters or the patrons necessarily had in mind, 10:30.908 --> 10:34.078 "We're going to start at Point A and get to Point D 10:34.076 --> 10:35.166 eventually." 10:35.168 --> 10:37.998 I think that what we're dealing with here, 10:38.000 --> 10:41.380 as we talk about this chronological evolution, 10:41.379 --> 10:45.029 is a transition of styles that had something to do in part 10:45.029 --> 10:48.579 probably with fashion, with fashion for a particular 10:48.577 --> 10:51.217 way of decorating things, and, of course, 10:51.221 --> 10:54.221 with influences that were coming in from other parts of 10:54.217 --> 10:54.937 the world. 10:54.940 --> 10:57.130 And, in fact, as far as the transition from 10:57.129 --> 11:01.339 the Second to the Third Style, the cycle of styles seems to 11:01.336 --> 11:06.746 suggest that at the time that the Second Style was at its most 11:06.754 --> 11:12.004 popular was just when those who owned these houses wanted to 11:11.995 --> 11:15.845 move on to something new, understandably. 11:15.850 --> 11:18.490 Once everybody had it, it was time to think about 11:18.493 --> 11:19.433 something else. 11:19.428 --> 11:22.618 And so the cycle, just as these walls that we've 11:22.620 --> 11:25.680 been describing-- the Room of the Masks, 11:25.678 --> 11:28.858 the Fannius Sinistor, and this one in Oplontis that 11:28.861 --> 11:30.931 we see on the left-hand side of the screen-- 11:30.928 --> 11:32.928 just as they gained their greatest popularity, 11:32.928 --> 11:37.668 there was a decision to move on to still another cycle of taste. 11:37.668 --> 11:41.158 And again, that's exactly what we're going to see at Oplontis. 11:41.158 --> 11:44.018 I show you here on the left--actually it's not on your 11:44.022 --> 11:47.212 Monument List but in order to get us to the Third Style, 11:47.210 --> 11:50.730 I want to say something about a Second Style painting at 11:50.730 --> 11:53.290 Oplontis, and we see a detail of that on 11:53.294 --> 11:55.334 the left-hand side of the screen. 11:55.330 --> 11:58.860 I compare it to the Second Style, or a part of the Second 11:58.855 --> 12:02.125 Style wall of P. Fannius Sinistor at Boscoreale. 12:02.129 --> 12:06.659 And I think you can see the resemblance between the two. 12:06.659 --> 12:08.289 The objectives are the same. 12:08.288 --> 12:11.738 The artist is trying to open up the wall, 12:11.740 --> 12:15.850 to create a picture window through which you can see a 12:15.845 --> 12:18.855 vista -- a vista that includes a round 12:18.855 --> 12:20.705 shrine, just as we saw here. 12:20.710 --> 12:23.000 So the same at Oplontis, a round shrine, 12:23.000 --> 12:27.040 in this case with the windows spread to see a cult statue 12:27.038 --> 12:28.718 inside, and that shrine, 12:28.716 --> 12:31.106 that circular shrine or tholos, 12:31.110 --> 12:35.210 surrounded by a peristyle, the kind of peristyle that one 12:35.212 --> 12:39.682 might have seen inside one of these Roman houses surrounding a 12:39.682 --> 12:40.492 garden. 12:40.490 --> 12:44.770 Just as at Boscoreale, we see the gateway that seems 12:44.774 --> 12:49.564 to separate us from what lies beyond, and we see again the 12:49.562 --> 12:52.672 structure surrounded by blue sky. 12:52.668 --> 12:55.938 We also see these very substantial columns that are 12:55.942 --> 12:58.432 characteristic of the Second Style, 12:58.428 --> 13:01.208 projecting out into the spectator's space, 13:01.210 --> 13:05.310 supporting entablatures that also project out into the 13:05.306 --> 13:09.586 spectator's space, and supporting also a lintel 13:09.591 --> 13:14.891 that has a ceiling, with coffers that recede into 13:14.892 --> 13:15.692 depth. 13:15.690 --> 13:19.730 So what we see in Second Style at Oplontis is very similar to 13:19.730 --> 13:23.950 what we saw at Second Style, at Boscoreale and also at 13:23.952 --> 13:28.732 Pompeii, at Cubiculum 16 of the Villa of the Mysteries. 13:28.730 --> 13:31.580 But if we look at Caldarium 8, 13:31.580 --> 13:35.060 Room 8, the caldarium of the bath, 13:35.058 --> 13:39.858 we see something that may look superficially similar, 13:39.860 --> 13:42.530 but is actually very, very different, 13:42.529 --> 13:44.909 and I think you can pick out those differences very quickly, 13:44.909 --> 13:46.989 just as I can. 13:46.990 --> 13:51.230 What we're looking at here is a view of three walls -- the most 13:51.230 --> 13:55.060 important back wall here, and then the walls to the right 13:55.061 --> 13:56.431 and to the left. 13:56.428 --> 13:59.818 And if you look carefully, you will see that the 13:59.821 --> 14:03.141 coloration is similar: the famous Pompeian red, 14:03.139 --> 14:06.029 a nice maroon, some black, some gold used 14:06.025 --> 14:06.815 here. 14:06.820 --> 14:10.090 And again, a quick glance, you see that there's a 14:10.091 --> 14:13.571 landscape of some sort, with a blue sky right in the 14:13.570 --> 14:14.320 center. 14:14.320 --> 14:17.240 So you're--being used to Second Style painting, 14:17.240 --> 14:18.560 you might say to yourself, "Oh well, 14:18.558 --> 14:20.938 that's another window into something that lies 14:20.937 --> 14:21.727 beyond." 14:21.730 --> 14:25.150 But if we look at it very carefully we will see that that 14:25.152 --> 14:26.682 is not the case at all. 14:26.678 --> 14:30.668 We're going to see here that what has happened is that the 14:30.673 --> 14:34.463 artists have rejected the perspectival panoramas of the 14:34.457 --> 14:38.477 Second Style, in favor of going back to an 14:38.477 --> 14:42.417 appreciation of the flatness of a wall. 14:42.419 --> 14:43.699 What is a wall but flat? 14:43.700 --> 14:44.840 A wall is flat. 14:44.840 --> 14:46.620 A flat wall is to be decorated. 14:46.620 --> 14:51.490 So sort of believing in that integrity of that wall is the 14:51.494 --> 14:56.714 cornerstone of the thinking for what we call Third Style Roman 14:56.710 --> 14:58.250 wall painting. 14:58.250 --> 15:01.290 And you can see the way the artist has treated the wall: 15:01.293 --> 15:04.653 a series of zones; a painted maroon zone or a 15:04.649 --> 15:07.229 socle down here; a middle tier, 15:07.231 --> 15:11.891 painted Pompeian red; an upper tier painted this gold; 15:11.889 --> 15:16.239 all of which looks like a series of stripes across the 15:16.244 --> 15:16.824 wall. 15:16.820 --> 15:20.330 Let me show you another view, which is a little bit brighter, 15:20.331 --> 15:22.791 so that I think you can see this better; 15:22.788 --> 15:25.218 the maroon zone, the red zone, 15:25.221 --> 15:26.901 and the gold zone. 15:26.899 --> 15:32.199 And if you look also at the painting in the center, 15:32.200 --> 15:35.660 you will see that there are some architectural elements, 15:35.658 --> 15:38.588 but they are not the substantial architectural 15:38.585 --> 15:40.595 elements of the Second Style. 15:40.600 --> 15:43.150 They are very attenuated. 15:43.149 --> 15:46.679 If you look at these--and I'll show you a detail in a moment, 15:46.678 --> 15:48.848 they are, in fact, columns, we'll see, 15:48.854 --> 15:50.564 with capitals at the top. 15:50.558 --> 15:53.508 But from a distance they don't look like columns. 15:53.509 --> 15:58.279 They look like white stripes against a flat wall. 15:58.279 --> 16:00.969 They support lintels, as you can see here. 16:00.970 --> 16:03.100 These lintels don't project--they're just straight 16:03.100 --> 16:05.100 lintels, they're not broken in any 16:05.102 --> 16:07.422 way--and they too are very delicate, 16:07.418 --> 16:11.258 and from a distance look like a stripe against the wall, 16:11.259 --> 16:13.209 not like a lintel. 16:13.210 --> 16:17.550 We can also see--and I think that having a detail will help 16:17.547 --> 16:18.367 you here. 16:18.370 --> 16:22.360 Yes, let me first show you a comparison between this wall in 16:22.355 --> 16:26.275 Caldarium 8 and the Second Style wall that we looked 16:26.275 --> 16:27.555 at just before. 16:27.558 --> 16:30.738 And I think you can see very clearly the differences here: 16:30.739 --> 16:32.969 the substantial columns in this case, 16:32.970 --> 16:36.320 the opening up of the wall as a window to something that lies 16:36.317 --> 16:36.817 beyond. 16:36.820 --> 16:38.360 This is very different. 16:38.360 --> 16:39.570 Yes, there's a blue sky. 16:39.570 --> 16:40.550 Yes, there's a tree. 16:40.548 --> 16:44.928 But that scene is contained within a frame. 16:44.928 --> 16:48.168 I think I can also illustrate that better here by showing you 16:48.168 --> 16:49.948 a detail of that central panel. 16:49.950 --> 16:52.940 That central panel, by the way, represents not 16:52.936 --> 16:56.846 something that one would be likely to see outside the window 16:56.851 --> 16:59.971 of one's house, but rather a mythological 16:59.974 --> 17:03.854 scene, which represents the legendary hero Hercules-- 17:03.850 --> 17:05.900 you see him over here--Hercules, 17:05.898 --> 17:09.868 and in fact Hercules has just finished the last of his Twelve 17:09.865 --> 17:12.695 Labors, and he has brought back the 17:12.700 --> 17:16.050 Apples of the Hesperides, which you see sitting on a rock 17:16.051 --> 17:19.811 over here, and so he is celebrating the 17:19.810 --> 17:23.180 last of these Twelve Labors. 17:23.180 --> 17:25.920 For some reason he seems to be kind of a tree hugger here; 17:25.920 --> 17:29.190 he seems to be hugging the tree, a tree that has a yellow 17:29.194 --> 17:30.604 ribbon tied around it. 17:30.598 --> 17:34.698 We use today yellow--we tie yellow ribbons around things, 17:34.702 --> 17:37.562 for a variety of reasons, as we know. 17:37.558 --> 17:40.468 We don't know exactly why the Romans did that, 17:40.468 --> 17:43.828 but we see that frequently in Roman wall painting. 17:43.828 --> 17:46.978 But here he is standing at the base of the tree, 17:46.982 --> 17:49.872 his labors completed, and that tree again is 17:49.867 --> 17:51.677 surrounded by blue sky. 17:51.680 --> 17:54.950 But I think you can see that it is not a window into something 17:54.948 --> 17:58.788 that lies beyond, because the scene is contained 17:58.790 --> 18:02.590 within this frame, and what the artist has done is 18:02.593 --> 18:05.053 outlined the frame with a very black, 18:05.049 --> 18:07.459 dark black outline. 18:07.460 --> 18:09.950 Now whether this has anything to do with those old curtains 18:09.951 --> 18:12.011 that we talked about in the Second Style might be 18:12.013 --> 18:13.263 interesting to speculate. 18:13.259 --> 18:17.249 But it looks to us like it's basically just a frame that is 18:17.251 --> 18:19.801 making it clear that this is flat, 18:19.798 --> 18:24.248 that what we are dealing with here is a flat wall, 18:24.250 --> 18:27.910 onto which a panel picture has been attached. 18:27.910 --> 18:31.550 It is hung -- it seems to be hung on that flat wall; 18:31.548 --> 18:36.078 it is not meant as a window or a panorama into something else. 18:36.078 --> 18:39.658 Besides the black frame, you see there's also a molded 18:39.661 --> 18:41.561 frame, very nicely painted here, 18:41.561 --> 18:44.511 and in this detail you can see that again what looked like 18:44.509 --> 18:47.049 stripes, white stripes on a flat wall 18:47.047 --> 18:49.777 from a distance, are indeed columns. 18:49.779 --> 18:53.799 You can see that they support capitals and a lintel up above, 18:53.804 --> 18:57.364 but from a distance again they don't look that way. 18:57.358 --> 19:01.088 And they are columns and capitals very different from 19:01.093 --> 19:04.763 what we've seen before, because again they are very, 19:04.755 --> 19:07.695 very, very attenuated, very delicate. 19:07.700 --> 19:11.830 They don't have any of the substance of the columns of the 19:11.832 --> 19:12.922 Second Style. 19:12.920 --> 19:17.310 Look up above the panel picture of Hercules and you'll see-- 19:17.308 --> 19:19.278 and I have a better detail of this in a moment-- 19:19.278 --> 19:24.338 a series of figures that are located in the yellow zone, 19:24.338 --> 19:27.898 and I can show them better to you perhaps here, 19:27.900 --> 19:31.520 where you're looking also at a view of the socle. 19:31.519 --> 19:35.049 This side of the wall--you may have noticed this in the general 19:35.054 --> 19:37.974 view--is actually a niche; it's actually a niche, 19:37.970 --> 19:39.710 a rectangular, fairly shallow, 19:39.710 --> 19:41.330 rectangular niche there. 19:41.328 --> 19:44.458 So the painting continues into that niche, which gives it a 19:44.460 --> 19:47.160 little sense of depth, a little more sense of depth 19:47.157 --> 19:48.937 than it would have otherwise. 19:48.940 --> 19:53.850 And above the niche is a soffit, which you can see is 19:53.853 --> 19:58.013 also painted, and I show you a detail of that 19:58.009 --> 19:59.899 soffit up above. 19:59.900 --> 20:03.210 If you look at what's right above the painting of Hercules, 20:03.213 --> 20:06.703 you will see--and I'll show you these in detail in a moment--a 20:06.700 --> 20:08.900 citharist; that is, a man who plays a 20:08.904 --> 20:12.154 cithara, who is seated there and is playing his instrument. 20:12.150 --> 20:15.950 On either side of him we see panel pictures, 20:15.950 --> 20:19.830 and then on top of those panel pictures peacocks, 20:19.828 --> 20:22.908 peacocks that are represented frontally and look out toward 20:22.913 --> 20:23.183 us. 20:23.180 --> 20:26.040 And if you look at both--and we'll look at them in detail 20:26.038 --> 20:28.208 again momentarily-- if you look at the citharist, 20:28.213 --> 20:29.513 and if you look at the peacocks, 20:29.509 --> 20:32.109 you see that they are standing on ground lines, 20:32.108 --> 20:35.008 but ground lines that don't look like they have any depth; 20:35.009 --> 20:37.159 in fact, they're standing somewhere where you couldn't 20:37.160 --> 20:40.030 really stand, which is one of the interesting 20:40.028 --> 20:43.678 features of Third Style, again this desire to move and 20:43.682 --> 20:45.972 to respect the flatness of the wall. 20:45.970 --> 20:49.400 If we look at the soffit, we see that that too is painted 20:49.397 --> 20:52.587 in red and gold; that it is divided into a 20:52.593 --> 20:55.753 series of panels; that in those panels we see 20:55.751 --> 20:59.361 floating, mythological figures, a woman on a bull--I'll show 20:59.363 --> 21:02.553 you a detail of her in a moment--just floating in the 21:02.545 --> 21:03.275 center. 21:03.278 --> 21:05.538 She doesn't seem to be in any space at all, 21:05.536 --> 21:07.036 she's just floating there. 21:07.038 --> 21:09.718 And then on either side a niche with a shell at the top, 21:09.720 --> 21:12.690 with standing figures, and then strangely enough 21:12.692 --> 21:14.972 pictures of still-life paintings, 21:14.970 --> 21:18.060 right below those. 21:18.059 --> 21:19.899 Here are all of those details. 21:19.900 --> 21:23.180 Here we see the citharist, sitting again where there 21:23.175 --> 21:26.215 doesn't seem to be-- there is a maroon, 21:26.219 --> 21:30.409 a brown line here, but it doesn't look like it 21:30.413 --> 21:32.183 occupies any space. 21:32.180 --> 21:34.820 So there's this interesting tension between the flatness of 21:34.815 --> 21:37.355 the wall and the fact that there's a figure that seems to 21:37.359 --> 21:39.859 be sitting somewhere where there's no place to sit. 21:39.859 --> 21:41.309 The same with the peacocks. 21:41.308 --> 21:44.198 You can see them, this one standing on this 21:44.201 --> 21:45.511 white, flat line. 21:45.509 --> 21:51.009 His toes do seem to be projecting a bit over those. 21:51.009 --> 21:55.559 So there's this interesting tension between what's flat and 21:55.560 --> 21:58.230 what might have a hint of space. 21:58.230 --> 22:01.090 And then below that, one of these sacro-idyllic 22:01.088 --> 22:03.658 landscapes, again framed in black, 22:03.663 --> 22:08.163 making it clear that we are to read this as a panel picture 22:08.157 --> 22:11.807 hanging on a flat wall, a kind of picture gallery, 22:11.806 --> 22:14.796 in a way that's very different from Second Style. 22:14.798 --> 22:19.128 Up here, a mysterious figure with a sacrificial dish, 22:19.130 --> 22:23.290 standing in a niche, with a shell decoration at the 22:23.292 --> 22:23.962 top. 22:23.960 --> 22:27.990 And then a still-life painting with fruit down below. 22:27.990 --> 22:30.860 And then up here, something that we're going to 22:30.859 --> 22:34.419 see becomes ubiquitous in Third Style Roman wall painting: 22:34.416 --> 22:38.096 a figure that floats in the center of a colored panel, 22:38.098 --> 22:43.098 either red or black or white, in this case a mostly nude 22:43.101 --> 22:46.951 female figure who is riding, as you can see, 22:46.945 --> 22:48.515 on the back of a bull. 22:48.519 --> 22:51.149 At least the front of the animal is a bull, 22:51.154 --> 22:54.674 and you can see the back of the animal has a fishtail. 22:54.670 --> 23:00.540 So it's a kind of bull-like sea creature, as you can see here. 23:00.538 --> 23:03.238 So this room, this very important room, 23:03.240 --> 23:06.000 Caldarium 8 in the Villa at Oplontis, 23:06.000 --> 23:10.630 seems to be a good example of this transition from Second 23:10.625 --> 23:14.295 Style, which was also in the house, 23:14.295 --> 23:19.305 to some new cycle of fashion in Roman painting. 23:19.308 --> 23:26.518 An example of the mature Third Style can be seen in two rooms, 23:26.519 --> 23:29.819 the Red Room and the Black Room, so called for obvious 23:29.815 --> 23:33.185 reasons-- this is the Red Room--that 23:33.194 --> 23:39.214 belong to the Villa of Agrippa Postumus at Boscotrecase, 23:39.210 --> 23:42.800 that dates to around 11 B.C., we believe. 23:42.798 --> 23:48.548 This house we think also had Imperial connections; 23:48.548 --> 23:52.478 that is, we think that this house was put up in honor of the 23:52.477 --> 23:55.337 first emperor of Rome, Augustus' only child, 23:55.338 --> 23:56.868 his daughter Julia. 23:56.868 --> 24:01.968 The marriage of Julia to Tiberius--t-i-b-e-r-i-u-s, 24:01.970 --> 24:04.800 the man who was to become the second emperor of Rome-- 24:04.798 --> 24:09.168 the marriage of Julia to Tiberius may have been the 24:09.172 --> 24:13.022 occasion for the decoration of this house. 24:13.019 --> 24:16.529 It bears the name of one of Julia's sons by a different man, 24:16.530 --> 24:19.090 by Marcus Agrippa, her son, her last son; 24:19.088 --> 24:22.548 his name was Agrippa Postumus, because he was born after-- 24:22.548 --> 24:25.368 she was impregnated, obviously, by Agrippa before he 24:25.372 --> 24:27.902 died -- but the child was actually born 24:27.903 --> 24:29.743 after the death of Agrippa. 24:29.740 --> 24:31.670 Hence his name Agrippa Postumus. 24:31.670 --> 24:35.700 There's some speculation that he may have lived in this villa 24:35.695 --> 24:36.765 at some point. 24:36.769 --> 24:40.829 But what's important to us is the likelihood seems to be that, 24:40.828 --> 24:42.528 just as with the Villa at Oplontis, 24:42.529 --> 24:46.629 this villa seems to have been owned by someone in the imperial 24:46.634 --> 24:47.244 family. 24:47.240 --> 24:51.070 Which is very important because it suggests to us not only that 24:51.067 --> 24:55.077 the finest artists of the day must have been working on these, 24:55.078 --> 24:58.528 as they did in Rome for the House of Augustus, 24:58.529 --> 25:01.259 or in Primaporta for the Villa of Livia, 25:01.259 --> 25:04.619 but also leads me, at least, to speculate that 25:04.615 --> 25:08.485 it's possible that these interesting transitions from 25:08.494 --> 25:12.544 Second to Third Style, and Third Style to Fourth 25:12.539 --> 25:17.169 Style, may have come at the behest of the artists who were 25:17.170 --> 25:22.130 these very high-level artists who were working in the imperial 25:22.125 --> 25:23.095 employ. 25:23.098 --> 25:24.898 It makes a certain amount of sense to speculate that that 25:24.901 --> 25:25.771 might have been the case. 25:25.769 --> 25:31.539 So here we have the Red Room of the Villa of Agrippa Postumus at 25:31.542 --> 25:35.202 Boscotrecase, and we can see some of the same 25:35.201 --> 25:39.021 features that we saw in Caldarium 8 of the Villa 25:39.019 --> 25:40.079 at Oplontis. 25:40.078 --> 25:42.638 We see once again that those substantial columns or that 25:42.643 --> 25:44.883 opening in the wall is gone, forever banished; 25:44.880 --> 25:48.170 in fact, the Romans never return to their quest after 25:48.169 --> 25:50.509 one-point perspective, for example. 25:50.509 --> 25:54.309 Respect for the integrity of the wall, the flatness of the 25:54.306 --> 25:57.366 wall, the wall as a surface to be decorated. 25:57.368 --> 26:02.298 We see that they have decorated it with a system of tiers: 26:02.295 --> 26:06.785 a black socle at the bottom, then a red central zone, 26:06.788 --> 26:08.948 and a red upper zone. 26:08.950 --> 26:12.160 And, by the way, we can still get some sense 26:12.163 --> 26:16.953 that they have looked at earlier Second Style wall paintings, 26:16.950 --> 26:18.520 because if you look at the structure, 26:18.519 --> 26:20.909 the overall structure of this wall, 26:20.910 --> 26:22.990 for example, there still seems to be a 26:22.993 --> 26:26.363 central panel flanked by wings, this whole idea of regia 26:26.357 --> 26:28.457 and hospitalia that we talked about, 26:28.460 --> 26:31.000 that goes back to theater design. 26:31.000 --> 26:34.950 There's certainly a hint of that still here in the general 26:34.948 --> 26:37.718 arrangement or formatting of the wall. 26:37.720 --> 26:40.940 But it is completely flat: black zone, red zone. 26:40.940 --> 26:44.310 And then, although we will see in detail that we have a column 26:44.307 --> 26:46.487 here, with a capital at the top, 26:46.491 --> 26:50.451 from a distance again it looks like a white stripe on a flat 26:50.445 --> 26:53.905 wall, and that's deliberate on the 26:53.912 --> 26:56.062 part of the artists. 26:56.058 --> 26:59.108 Again here, there's a panel in the center, but it is not a 26:59.113 --> 27:01.903 panel that serves as a window to what lies beyond. 27:01.900 --> 27:05.440 It is a panel that is meant to be just that, 27:05.436 --> 27:06.256 a panel. 27:06.259 --> 27:10.659 It's meant to imitate perhaps a marble painted panel that 27:10.656 --> 27:15.836 would've actually hung on a wall in a house or villa like this, 27:15.838 --> 27:18.518 but depicting that here in paint. 27:18.519 --> 27:23.399 So it is meant to be--we are meant to see it as -- a panel 27:23.403 --> 27:27.773 picture that hangs on a flat wall in the Red Room at 27:27.772 --> 27:29.232 Boscotrecase. 27:29.230 --> 27:32.570 We can see also some vegetal decoration--very, 27:32.573 --> 27:35.323 very delicate, doesn't occupy space at 27:35.321 --> 27:38.221 all--decorates the flat wall above. 27:38.220 --> 27:45.070 So very similar to what we saw again in Caldarium 8. 27:45.068 --> 27:46.908 Here's a detail of the Red Room where we can see the 27:46.914 --> 27:48.114 sacro-idyllic landscape better. 27:48.108 --> 27:51.598 You can see that it follows in the line of other sacro-idyllic 27:51.599 --> 27:53.259 landscapes that we've seen. 27:53.259 --> 27:56.929 It has a shrine, in this case a column that 27:56.925 --> 28:00.675 supports an urn, at the top, with a tree; 28:00.680 --> 28:07.010 behind that some sort of wall with windows over here; 28:07.009 --> 28:12.459 and in this case a group of shepherds with their flocks and 28:12.459 --> 28:17.529 other figures possibly involved in some kind of ritual, 28:17.532 --> 28:21.012 located in and around the shrine. 28:21.009 --> 28:23.839 You can also see here extremely well in detail the way in which 28:23.837 --> 28:26.207 they have outlined this panel with a black frame, 28:26.210 --> 28:30.010 to make it very clear that this is contained within a frame. 28:30.009 --> 28:33.579 Beyond that, you can now see that this is a 28:33.578 --> 28:35.608 column, a very attenuated, 28:35.607 --> 28:38.897 very delicate column -- more a colonnette we might call 28:38.902 --> 28:41.582 it, with a capital at the top. 28:41.578 --> 28:47.178 But it is meant here not to occupy any real space, 28:47.180 --> 28:50.110 not to project into the viewer's space, 28:50.108 --> 28:54.718 but to serve as a second frame for the panel picture that is 28:54.724 --> 28:56.764 placed on the flat wall. 28:56.759 --> 29:00.189 I think it's instructive to compare this to what we saw in 29:00.192 --> 29:02.602 the Room of the Masks, House of Augustus, 29:02.601 --> 29:04.951 Palatine Hill, Mature Second Style. 29:04.950 --> 29:08.540 So Mature Second Style, commissioned by an imperial 29:08.542 --> 29:10.692 patron; Mature Third Style, 29:10.689 --> 29:14.399 commissioned by, we think, an imperial patron. 29:14.400 --> 29:18.030 Both sacro-idyllic landscapes, with white backgrounds, 29:18.028 --> 29:20.648 but you can see the main difference here, 29:20.650 --> 29:22.440 not only the substantial architecture, 29:22.440 --> 29:26.670 but the fact that the white background continues behind the 29:26.673 --> 29:27.773 architecture. 29:27.769 --> 29:28.229 Right? 29:28.230 --> 29:31.620 It continues behind the architecture here, 29:31.618 --> 29:34.688 here, here, which gives us the sense again that this is 29:34.694 --> 29:37.604 something that's a misty landscape of some sort, 29:37.598 --> 29:40.558 that one could, at least with one's eye, 29:40.558 --> 29:44.798 but also perhaps oneself, could actually enter into and 29:44.795 --> 29:47.485 wander around; that's the sense you get here. 29:47.490 --> 29:49.710 But here you are stopped from doing that. 29:49.710 --> 29:53.950 There's nothing more here than a panel picture that hangs on a 29:53.952 --> 29:54.442 wall. 29:54.440 --> 29:59.390 Now you might say to me that if we're going back to respecting 29:59.386 --> 30:04.006 the wall and to having a painting that is fairly flat, 30:04.009 --> 30:08.229 that what--are we going back to the First Style of Roman wall 30:08.234 --> 30:09.014 painting? 30:09.009 --> 30:10.889 And I remind you of one of the First Style Roman wall paintings 30:10.890 --> 30:11.770 that we looked at together. 30:11.769 --> 30:14.369 But it really is very different from the First Style as well, 30:14.374 --> 30:16.244 because in the First Style, you'll remember, 30:16.240 --> 30:17.760 the wall was not actually flat. 30:17.759 --> 30:20.079 The wall was built up as a relief, 30:20.078 --> 30:22.778 in a series of architectural zones, 30:22.778 --> 30:28.028 and then the individual blocks were painted different colors, 30:28.028 --> 30:31.518 to give an illusion, once again, that this was not a 30:31.519 --> 30:35.289 plain wall but rather a very exotic and expensive marble 30:35.285 --> 30:37.795 wall, with marbles brought from all 30:37.800 --> 30:39.760 over the world to decorate it. 30:39.759 --> 30:42.099 So an illusion of something that it wasn't. 30:42.098 --> 30:46.068 Here in the Third Style we are again not dealing with any 30:46.067 --> 30:49.247 illusions really at all, but just a respect for the 30:49.248 --> 30:52.448 flatness of the wall, decorating that flat wall with 30:52.452 --> 30:55.072 a kind of wallpaper, through paint, 30:55.074 --> 30:59.614 and then putting on that flat wallpapered wall pictures, 30:59.608 --> 31:03.968 hanging pictures, just as we hang pictures on 31:03.974 --> 31:05.864 flat walls today. 31:05.858 --> 31:09.738 The Villa at Boscotrecase also has a Black Room, 31:09.743 --> 31:14.543 so called because the main color there, the main background 31:14.538 --> 31:17.018 color there is, as you can see, 31:17.018 --> 31:18.008 black. 31:18.009 --> 31:20.689 It too is interesting--interesting in a 31:20.690 --> 31:24.850 somewhat different way -- but is a quintessential example of 31:24.852 --> 31:28.522 mature Third Style Roman architectural painting. 31:28.519 --> 31:33.109 We see, once again, that the room has been divided 31:33.113 --> 31:36.863 into a center, a central area with wings, 31:36.863 --> 31:39.023 one on either side. 31:39.019 --> 31:42.829 We also see that it has been divided into painted zones: 31:42.827 --> 31:45.457 red at the bottom, black in the center, 31:45.459 --> 31:47.259 black also at the top. 31:47.259 --> 31:50.389 We can see that there are architectural members, 31:50.394 --> 31:53.134 although again they look, from a distance, 31:53.127 --> 31:55.727 like white stripes on a black wall. 31:55.730 --> 31:58.460 But if we get up close to them--and I'll show you even 31:58.460 --> 32:02.360 some closer views in a moment-- we will see that we are dealing 32:02.357 --> 32:04.777 with very, very, very, very attenuated 32:04.777 --> 32:07.367 colonnettes, with capitals at the top. 32:07.368 --> 32:09.508 And notice--and this has been true throughout-- 32:09.509 --> 32:12.909 they decorate these columns also, all up and down, 32:12.910 --> 32:15.940 all along the way, with floral motifs and so on 32:15.941 --> 32:18.861 and so forth; which also underscores their 32:18.862 --> 32:23.142 function as a decorative motif, rather than an actual column. 32:23.140 --> 32:27.780 The column supports, the colonnettes support what 32:27.778 --> 32:31.258 looks like a very simple pediment. 32:31.259 --> 32:35.009 It's just slightly peaked, as you can see up there. 32:35.009 --> 32:39.919 But there is one--this painting is interesting because if you 32:39.920 --> 32:44.980 look carefully at the frieze, at the uppermost part of the 32:44.978 --> 32:46.728 columns, or colonnettes, 32:46.731 --> 32:49.851 you will see that there is some hint of space there. 32:49.848 --> 32:54.558 Look at the way it undulates there: it recedes over here, 32:54.557 --> 32:58.507 recedes over there, and then it also meanders in 32:58.508 --> 32:59.768 the center. 32:59.769 --> 33:02.859 So there's a slight hint, in this particular case, 33:02.858 --> 33:06.688 of some space, some recession into depth, 33:06.690 --> 33:10.850 which only adds to the intrigue and mystery of these incredible 33:10.845 --> 33:11.645 paintings. 33:11.650 --> 33:14.310 These are very, very interesting in detail. 33:14.308 --> 33:17.008 I can show you here, for example, 33:17.008 --> 33:18.018 the swans. 33:18.019 --> 33:21.319 We see some swans--and remember these swans. 33:21.318 --> 33:23.668 This again seems to be an imperial house, 33:23.670 --> 33:26.790 because we will see swans are very important for the emperor 33:26.794 --> 33:29.154 Augustus, and he decorates the Ara Pacis 33:29.146 --> 33:32.446 in Rome, a great work of architecture 33:32.450 --> 33:35.190 and sculpture, with swans, that may make 33:35.186 --> 33:37.726 reference to a new Golden Age that he has ushered in. 33:37.730 --> 33:39.380 We see those here. 33:39.380 --> 33:42.380 But look at them, look at the way they rest on 33:42.375 --> 33:45.035 these little candelabra-like torches, 33:45.038 --> 33:50.648 and then those in turn on a spiraling acanthus tendril, 33:50.650 --> 33:54.050 that doesn't look like it could support anything at all. 33:54.048 --> 33:58.928 How very strange, to have a swan supported by a 33:58.934 --> 34:01.064 tendril like this. 34:01.058 --> 34:03.028 This sort of thing couldn't actually work, 34:03.031 --> 34:05.531 and it's one of again the intrigues of the details of 34:05.532 --> 34:06.882 paintings such as these. 34:06.880 --> 34:08.730 This is another interesting detail, 34:08.730 --> 34:12.120 because it shows again a kind of candelabrum supporting a 34:12.119 --> 34:15.699 panel picture, that we are meant to read as a 34:15.702 --> 34:18.002 panel picture on the wall. 34:18.000 --> 34:21.070 And if you look carefully, you can see the Egyptianizing 34:21.068 --> 34:22.798 motifs in that panel picture. 34:22.800 --> 34:27.650 There was an extreme Egyptomania that spread through 34:27.648 --> 34:33.348 Rome and Italy after Augustus was victorious over Mark Antony 34:33.351 --> 34:38.011 and Cleopatra at the famous Battle of Actium. 34:38.010 --> 34:42.980 Augustus initially used these Egyptianizing motifs to make 34:42.983 --> 34:47.613 political remarks about his victory over Cleopatra and 34:47.610 --> 34:48.570 Antony. 34:48.570 --> 34:51.490 But over time it became more a fashion, 34:51.489 --> 34:55.999 and we begin to see Egyptianizing motifs, 34:56.000 --> 34:58.390 not only in the homes of members of the imperial family, 34:58.389 --> 35:02.919 but even used ever more widely than that. 35:02.920 --> 35:07.650 Another detail shows again that central area with the--now you 35:07.653 --> 35:12.083 can see that they are indeed colonnettes, with capitals at 35:12.077 --> 35:13.007 the top. 35:13.010 --> 35:15.130 You can also see there are a couple of medallions, 35:15.132 --> 35:17.472 that turn out to be medallions that have heads in them, 35:17.472 --> 35:18.082 over here. 35:18.079 --> 35:19.949 But here you can see how fanciful it gets; 35:19.949 --> 35:23.929 even though this is clearly a colonnette with a capital. 35:23.929 --> 35:27.149 What capital supports then, in usual building practice, 35:27.150 --> 35:30.250 supports on top of it a medallion with a head, 35:30.250 --> 35:34.010 and then another curlicue on top of that, 35:34.010 --> 35:36.200 and that supports the pediments, and that has on the 35:36.204 --> 35:38.864 edge this very decorative motif, dripping off the side? 35:38.860 --> 35:44.010 There's no--this is fantastic in that regard; 35:44.010 --> 35:47.820 fantastic, and they're clearly having fun with these details 35:47.818 --> 35:51.758 and with using these wonderful details -- this dropped element 35:51.755 --> 35:53.495 over here, for example. 35:53.500 --> 35:57.640 The images are interesting; the heads are interesting. 35:57.639 --> 36:00.919 Many scholars have believed that they're representations of 36:00.916 --> 36:02.076 gods, like Apollo, 36:02.081 --> 36:05.231 but a couple of scholars have put forward the idea, 36:05.230 --> 36:06.780 and I find it a very attractive one, 36:06.780 --> 36:09.340 that we may actually have--there are two of them-- 36:09.340 --> 36:11.350 we may actually have a portrait of Julia, 36:11.349 --> 36:14.899 whose marriage may have been commemorated here, 36:14.900 --> 36:21.920 and of her step-mother Livia, the empress of Rome, 36:21.920 --> 36:24.130 during the age of Augustus. 36:24.130 --> 36:29.990 Most interesting of all is the small sacro-idyllic landscape 36:29.994 --> 36:34.074 that floats in the center of the panel. 36:34.070 --> 36:36.680 Again in Third Style Roman wall painting we either tend to have 36:36.684 --> 36:38.544 painted panels in the center with frames, 36:38.539 --> 36:42.119 as we've seen thus far, or floating elements in the 36:42.123 --> 36:42.773 center. 36:42.768 --> 36:47.308 They could be a floating woman on the back of a bull/sea 36:47.311 --> 36:51.441 creature, or they can be a sacro-idyllic landscape, 36:51.440 --> 36:53.010 as we see here. 36:53.010 --> 36:55.530 And here's another detail where we can blow up that 36:55.530 --> 36:58.610 sacro-idyllic landscape and see again that it is just the sort 36:58.606 --> 37:01.376 of sacred and idyllic landscape we've seen before, 37:01.380 --> 37:03.290 with a shrine; the top of a column; 37:03.289 --> 37:06.639 a building over here; trees, a tree in the center, 37:06.641 --> 37:10.201 other trees; and then various sacrificial 37:10.204 --> 37:13.004 goings on in front of that. 37:13.000 --> 37:16.550 But from a distance again it just looks like some sort of 37:16.552 --> 37:19.662 object floating in the center of a very large, 37:19.659 --> 37:25.439 black, flat wall: one decorative motif among 37:25.438 --> 37:26.378 many. 37:26.380 --> 37:32.280 We looked last time at the magnificent paintings in the 37:32.282 --> 37:37.422 Villa of Livia at Primaporta, and we talked about the fact 37:37.418 --> 37:40.518 that that was the quintessential Second Style wall, 37:40.518 --> 37:44.498 because more than any other we saw it was truly the wall as 37:44.496 --> 37:47.666 panorama, as a vista into something that 37:47.670 --> 37:51.490 might lie beyond, and we described in great 37:51.487 --> 37:56.047 detail the features of this particular painting. 37:56.050 --> 37:59.210 It's interesting that you wouldn't think that a 37:59.208 --> 38:03.048 gardenscape would be a good subject for Third Style Roman 38:03.054 --> 38:06.594 wall painting, a kind of painting that again 38:06.592 --> 38:11.282 respects the flatness of a wall, and yet we do have examples of 38:11.280 --> 38:14.940 what we would term Third Style Roman wall painting, 38:14.940 --> 38:19.810 showing the depiction of a gardenscape. 38:19.809 --> 38:21.019 And I turn to that now. 38:21.018 --> 38:24.968 The painting that you look at is on the wall of the House of 38:24.974 --> 38:28.074 the Orchard, the Casa del Frutteto, 38:28.068 --> 38:32.718 in Pompeii, in the so-called Orchard Cubiculum, 38:32.719 --> 38:34.869 and it dates to A.D. 38:34.873 --> 38:35.953 25 to A.D. 38:35.951 --> 38:40.001 50; so considerably later. 38:40.000 --> 38:42.160 And it's interesting, by the way, to note the 38:42.164 --> 38:43.054 chronology here. 38:43.050 --> 38:45.880 Third Style Roman wall painting has a quite long life, 38:45.878 --> 38:48.918 because if we talk about it being used already in 20 to 10 38:48.922 --> 38:49.352 B.C. 38:49.349 --> 38:51.339 at Oplontis, and we're now looking at a 38:51.340 --> 38:53.280 house that could be as late as 50, 38:53.280 --> 38:55.500 might've been decorated as late as 50 A.D., 38:55.500 --> 39:03.050 that takes us sixty or seventy years for this one style. 39:03.050 --> 39:05.210 So although I said these are cycles of fashion, 39:05.208 --> 39:07.928 fashion wasn't changing all that quickly at this particular 39:07.929 --> 39:08.539 juncture. 39:08.539 --> 39:13.819 But here we see a gardenscape in what we would call a Third 39:13.817 --> 39:14.997 Style wall. 39:15.000 --> 39:16.860 Now why do we call this a Third Style wall? 39:16.860 --> 39:18.920 It's divided into zones. 39:18.920 --> 39:21.620 We have a black socle down here. 39:21.619 --> 39:25.529 We have a zone here, which seems to show a fence, 39:25.534 --> 39:30.184 a more substantial fence than we saw in the gardenscape of 39:30.184 --> 39:31.004 Livia. 39:31.000 --> 39:36.550 It does seem to support some marble vessels or vases here. 39:36.550 --> 39:38.820 So you might--to look at the bottom you think, 39:38.822 --> 39:39.482 "Well. 39:39.480 --> 39:42.200 maybe there is some suggestion of some space." 39:42.199 --> 39:48.099 In fact, if you look very carefully at the gateway of the 39:48.101 --> 39:50.331 fence, you can see that there is some 39:50.327 --> 39:52.627 attempt to represent it as if it recedes into depth, 39:52.630 --> 39:54.020 at least the doorway. 39:54.018 --> 39:57.998 So there's some attempt at that here. 39:58.000 --> 40:01.100 But if you look at this zone, I think you'll agree with me 40:01.101 --> 40:03.061 that the artists have once again, 40:03.059 --> 40:05.259 the painters have once again, respected the flatness of the 40:05.264 --> 40:05.534 wall. 40:05.530 --> 40:10.180 Yes, there are columns here, but they are not substantial 40:10.179 --> 40:11.009 columns. 40:11.010 --> 40:13.620 They are attenuated columns, maybe not as attenuated as 40:13.619 --> 40:15.699 Boscotrecase, but attenuated nonetheless. 40:15.699 --> 40:19.009 They do have capitals at the top. 40:19.010 --> 40:21.990 But as you walk into this room and look at them from a 40:21.992 --> 40:25.372 distance, they look like gold stripes on a flat back wall. 40:25.369 --> 40:28.119 And, in fact, the fact that the wall was 40:28.123 --> 40:31.443 painted black is very significant, and not blue, 40:31.443 --> 40:35.403 as we saw in the gardenscape of Livia at Primaporta. 40:35.400 --> 40:39.230 And look also--what's particularly interesting is the 40:39.226 --> 40:43.496 way in which the artist has positioned the trees within the 40:43.496 --> 40:45.406 frames of the columns. 40:45.409 --> 40:48.859 If you look very closely you will see that there isn't a 40:48.862 --> 40:52.822 single leaf that either overlaps the columns, or that disappears 40:52.815 --> 40:54.255 behind the columns. 40:54.260 --> 40:57.920 They are completely contained within those columns. 40:57.920 --> 41:01.380 They are represented very abstractly, very flat. 41:01.380 --> 41:07.050 And so, because they are contained within those, 41:07.050 --> 41:09.820 we get the impression, not that we're looking at a 41:09.818 --> 41:13.038 gardenscape that is somehow viewed through a window behind 41:13.039 --> 41:16.039 the columns, but it's almost as if we're 41:16.038 --> 41:20.038 looking at a Japanese screen or something like that. 41:20.039 --> 41:24.279 It's a flat surface that has been decorated with depictions 41:24.275 --> 41:28.505 of trees, not a view to look at trees that lie behind these 41:28.512 --> 41:29.392 columns. 41:29.389 --> 41:33.939 It's very--it's really fascinatingly done, 41:33.940 --> 41:35.050 I think. 41:35.050 --> 41:39.250 And if we look at a detail of the wall in the Casa del 41:39.253 --> 41:42.043 Frutteto over here, and of a tree, 41:42.043 --> 41:46.373 and a detail of a tree from Livia's Villa at Primaporta, 41:46.369 --> 41:49.819 I think we again see the differences between the two: 41:49.818 --> 41:52.698 blue background, which gives us a sense of 41:52.701 --> 41:54.881 reality here; mountains in the background, 41:54.880 --> 41:58.070 as you'll remember; a black background here, 41:58.067 --> 42:01.007 gives a very different effect. 42:01.010 --> 42:04.100 Here we talked about how the artist was a particularly good 42:04.099 --> 42:06.709 observer of nature: had really gone out and looked 42:06.710 --> 42:10.340 at real trees; had looked at the way in which 42:10.340 --> 42:14.450 leaves rustled in the breeze; had looked at the way in which 42:14.447 --> 42:17.317 again light falls differently on leaves--it can bathe them in 42:17.322 --> 42:19.242 light or it can bathe them in shadow. 42:19.239 --> 42:23.869 We looked at the very realistic way in which the artist depicted 42:23.873 --> 42:28.073 the birds who are in flight and then alight on a leaf or a 42:28.067 --> 42:29.757 branch of the tree. 42:29.760 --> 42:31.370 Look at the difference here. 42:31.369 --> 42:35.099 The leaves are beautifully rendered, beautifully rendered, 42:35.096 --> 42:38.296 but they are all rendered essentially the same. 42:38.300 --> 42:41.650 You don't have the same sense of the difference of light and 42:41.648 --> 42:43.798 shadow; you don't have the same 42:43.800 --> 42:48.010 sense--these seem immutable, not as if they could be ruffled 42:48.012 --> 42:51.012 by the breeze at all, immutable shapes. 42:51.010 --> 42:55.140 And look at the difference in the bird, who himself, 42:55.139 --> 43:00.079 or herself, seems to be a shape against a black background. 43:00.079 --> 43:01.949 You don't get the sense--there's no sense of 43:01.947 --> 43:03.417 movement, as you see, of the birds, 43:03.423 --> 43:05.643 as you see at the Villa of Livia at Primaporta. 43:05.639 --> 43:08.009 The bird is one shape among many shapes. 43:08.010 --> 43:15.040 The sinuous snake that makes its way up the tree has-- 43:15.039 --> 43:17.609 you have some sense again of--they're sort of teasing us 43:17.614 --> 43:20.054 here-- there's some sense of depth, 43:20.052 --> 43:23.002 because as it slithers all along here, 43:23.000 --> 43:26.320 you get the sense that it is intertwining itself with the 43:26.322 --> 43:30.642 trunk of the tree, so that maybe there's a hint of 43:30.635 --> 43:33.995 some depth and some motion there. 43:34.000 --> 43:37.240 So there's this interesting play, I think, 43:37.242 --> 43:40.012 that the artist has created here. 43:40.010 --> 43:44.950 But on the whole this again is a painting that clearly respects 43:44.945 --> 43:48.045 all the tenets that have come to be, 43:48.050 --> 43:51.410 from the point of view of these artists Third Style Roman wall 43:51.409 --> 43:54.339 painting, even for a subject as unlikely 43:54.338 --> 43:56.378 for this as a gardenscape. 43:56.380 --> 44:00.160 44:00.159 --> 44:05.839 We have talked about Third Style Roman wall painting in 44:05.842 --> 44:07.002 Campania. 44:07.000 --> 44:10.890 We have talked about the fact that a lot of it seems to be 44:10.893 --> 44:15.063 connected in some way to members of the imperial household. 44:15.059 --> 44:19.249 And we see the same also in Rome, and it's to Rome that I 44:19.246 --> 44:23.776 would now like to turn, and specifically to the Golden 44:23.778 --> 44:27.748 House or the Domus Aurea of the emperor Nero. 44:27.750 --> 44:33.490 I show you a view of the famous octagonal room of Nero's Domus 44:33.487 --> 44:34.237 Aurea. 44:34.239 --> 44:37.079 It is one of the greatest rooms in Roman architecture. 44:37.079 --> 44:40.829 It's an octagonal room that has a large oculus. 44:40.829 --> 44:44.049 It is made out of concrete. 44:44.050 --> 44:47.260 It has radiating alcoves, and it is in a sense a 44:47.260 --> 44:50.950 grandiose version of the frigidarium that we saw 44:50.947 --> 44:54.087 in the Stabian and Forum Baths at Pompeii. 44:54.090 --> 44:57.530 It is part of a very major architectural revolution under 44:57.530 --> 44:57.960 Nero. 44:57.960 --> 44:59.990 It is extremely important. 45:04.333 --> 45:07.053 architecture, in a later lecture. 45:07.050 --> 45:10.380 But I do want to bring up--just contextually it works better for 45:10.380 --> 45:12.760 me to talk about the paintings separately, 45:12.760 --> 45:15.870 and the paintings in connection to paintings in Pompeii. 45:15.869 --> 45:19.729 And it's to those paintings that I'm going to turn now, 45:19.730 --> 45:23.000 the paintings in Nero's Domus Aurea, 45:23.000 --> 45:27.980 that we will see are both Third and also Fourth Style Roman 45:27.978 --> 45:29.008 paintings. 45:29.010 --> 45:32.750 So once again we seem to be in a situation where we are looking 45:32.753 --> 45:34.793 at a palace, in this case, 45:34.788 --> 45:37.998 commissioned by an imperial patron, 45:38.000 --> 45:43.190 in which it looks like there was an important transition from 45:43.192 --> 45:47.002 one Roman wall painting decoration style, 45:47.000 --> 45:49.860 to another, in this case the Third Style to the Fourth Style. 45:49.860 --> 45:54.910 The Domus Aurea paintings are important for three major 45:54.905 --> 45:55.835 reasons. 45:55.840 --> 45:59.730 The first reason is we can date them exactly. 45:59.730 --> 46:04.050 We know that these paintings, both of the Third and the 46:04.054 --> 46:07.504 Fourth Styles, were done in the Domus Aurea, 46:07.496 --> 46:08.696 between 64 A.D. 46:08.697 --> 46:09.977 and 68 A.D. 46:09.980 --> 46:12.950 We also know, and we know this very rarely, 46:12.951 --> 46:17.201 the name of the painter who was responsible for the Third and 46:17.195 --> 46:20.445 Fourth Style paintings in the Domus Aurea. 46:20.449 --> 46:25.039 His name is one you will, I hope--you will; 46:25.039 --> 46:29.409 not hope, I know you will never forget, because his name was 46:29.407 --> 46:32.217 Fabullus, F-a-b-u-l-l-u-s, Fabullus; 46:32.219 --> 46:34.579 and he was indeed, as you shall see, 46:34.581 --> 46:35.731 truly fabulous. 46:35.730 --> 46:41.790 Fabullus is known from--we know him from the writings of Pliny, 46:41.786 --> 46:44.576 P-l-i-n-y; many of you have probably read 46:44.583 --> 46:47.133 the writings of Pliny, tells us a lot about art, 46:47.128 --> 46:47.938 ancient art. 46:47.940 --> 46:51.710 And Pliny tells us that Fabullus was the painter for the 46:51.710 --> 46:55.000 Domus Aurea, in Rome, and he tells us a couple of 46:55.003 --> 46:58.093 other interesting tidbits about Fabullus. 46:58.090 --> 47:01.610 He tells us that Fabullus always used to paint in a toga. 47:01.610 --> 47:07.300 Now painting in a toga is like painting in a three-piece suit 47:07.300 --> 47:08.060 today. 47:08.059 --> 47:10.159 You wouldn't paint in a--painting in a toga, 47:10.157 --> 47:12.057 it makes no sense to paint in a toga. 47:12.059 --> 47:13.449 But he obviously--whether he really painted in a toga we 47:13.454 --> 47:15.444 don't know, but that was his reputation, 47:15.438 --> 47:17.878 which means he dressed up for the event, 47:17.880 --> 47:18.970 took it very seriously. 47:18.969 --> 47:23.449 We also know from Pliny that, or Pliny tells us that the 47:23.449 --> 47:26.299 Domus Aurea was Fabullus' prison. 47:26.300 --> 47:28.740 Why was it Fabullus' prison? 47:28.739 --> 47:31.979 It was Fabullus' prison because any of you who have visited the 47:31.983 --> 47:33.993 Domus Aurea-- and those of you who haven't, 47:33.990 --> 47:35.580 I hope you will, when you're in Rome, 47:35.577 --> 47:37.437 because it's an extraordinary place to see-- 47:37.440 --> 47:41.910 will see that it is corridor, after corridor, 47:41.909 --> 47:43.919 after corridor, after corridor, 47:43.918 --> 47:47.868 and we only have today a very small piece of the Domus Aurea 47:47.871 --> 47:48.811 preserved. 47:48.809 --> 47:53.799 So if Fabullus' job was to paint all of the walls and all 47:53.795 --> 47:57.175 of the ceilings of the Domus Aurea, 47:57.179 --> 47:59.589 it would have indeed taken a lifetime, 47:59.590 --> 48:03.920 it would have indeed served as a kind of prison for him. 48:03.920 --> 48:08.110 I suppose a later--it might be interesting to think of him in 48:08.112 --> 48:11.092 connection to-- he was not as great as, 48:11.088 --> 48:15.088 but he was, in a sense, the Michelangelo of 48:15.085 --> 48:17.795 his time; think about Michelangelo and 48:17.798 --> 48:21.738 the Sistine Ceiling and all the time that he devoted to painting 48:21.735 --> 48:24.355 that extraordinary space, also in Rome. 48:24.360 --> 48:28.010 I show you a couple of views of the corridors. 48:28.010 --> 48:31.850 I'm not going to go into detail now on exactly why this is the 48:31.847 --> 48:35.997 case, but the Domus Aurea is now underground, it's subterranean. 48:36.000 --> 48:39.170 It was razed to the ground and covered over in part by a later 48:39.173 --> 48:41.883 Roman emperor that we'll talk about in the future. 48:41.880 --> 48:44.620 So when you visit it today, you need to go underground. 48:44.619 --> 48:47.499 It was buried for a long time and rediscovered in the 48:47.503 --> 48:48.283 Renaissance. 48:48.280 --> 48:51.670 And it's interesting because we know that the famous painter 48:51.668 --> 48:53.908 Raphael, the famous Renaissance painter 48:53.911 --> 48:56.441 Raphael, went underground and was one of 48:56.436 --> 48:59.766 the first to see the paintings of the Domus Aurea, 48:59.768 --> 49:02.758 because Raphael left a graffito on the wall, 49:02.760 --> 49:05.310 which basically says, "Raphael was here." 49:05.309 --> 49:09.989 And we're fortunate that he left that, because it tells us 49:09.994 --> 49:12.054 again that he was here. 49:12.050 --> 49:14.790 And we're not surprised because this is a loggetta in the 49:14.793 --> 49:17.933 Vatican today that was designed by--it was painted by Raphael. 49:17.929 --> 49:22.539 And you can see how much the paintings of the Domus Aurea-- 49:22.539 --> 49:24.469 more weathered, obviously, than the one on the 49:24.474 --> 49:27.244 left-- but the paintings of the Domus 49:27.237 --> 49:30.137 Aurea had a huge impact on Raphael. 49:30.139 --> 49:33.549 I'm going to show you three rooms in the Domus Aurea. 49:33.550 --> 49:38.560 The first is the--and I'm sorry I have to show this to you in 49:38.556 --> 49:41.766 black and white; it's the only--it was very hard 49:41.768 --> 49:44.248 to photograph there, and it's the only image I 49:44.250 --> 49:45.960 happen to have of this wall. 49:45.960 --> 49:49.610 But I am showing you a room called the Sala degli 49:49.614 --> 49:51.864 Uccelletti, which means the Room of the 49:51.864 --> 49:54.324 Birds, and like the other paintings I'm going to show you 49:54.320 --> 49:57.830 today, it dates to 64 to 68 A.D. 49:57.829 --> 50:02.969 You can see that this is a Third Style Roman wall painting. 50:02.969 --> 50:06.129 It partakes of all the features that we've already described for 50:06.126 --> 50:07.826 Third Style Roman wall painting. 50:07.829 --> 50:12.909 It has a flat wall, as you can see here. 50:12.909 --> 50:15.819 It's not painted red or black, but in this case white, 50:15.820 --> 50:18.840 which makes it even more delicate looking, 50:18.840 --> 50:24.830 but they have definitely observed the integrity of the 50:24.833 --> 50:28.003 wall and painted it white. 50:28.000 --> 50:30.770 You can also see that the architectural members that there 50:30.768 --> 50:33.538 are, are very attenuated and look like stripes on the wall 50:33.538 --> 50:34.508 from a distance. 50:34.510 --> 50:38.240 You can see that some of the frames are vegetal or floral: 50:38.239 --> 50:40.659 very delicate, as you can see here. 50:40.659 --> 50:43.199 And then in the central panels--and it's the reason that 50:43.202 --> 50:45.102 it's called the Sala degli Uccelletti-- 50:45.099 --> 50:49.319 we have little birds, and those little birds float in 50:49.324 --> 50:54.284 the center of these panels: once again a decorative motif, 50:54.280 --> 50:58.000 among many. 50:58.000 --> 51:00.810 So the flatness of the wall observed, a wall that is flat, 51:00.813 --> 51:02.643 and to be decorated by the painter. 51:02.639 --> 51:06.309 So that's the Sala degli Uccelletti: Third Style. 51:06.309 --> 51:11.329 This is a vault in the Domus Aurea, which is useful for us, 51:11.327 --> 51:15.997 because here we can get a better sense of the color. 51:16.000 --> 51:19.660 Once again the background is white, and once again the 51:19.659 --> 51:22.629 integrity of the wall has been respected. 51:22.630 --> 51:26.430 The artist has divided that wall into a series of panels, 51:26.429 --> 51:30.789 but within those panels we see once again sea creatures, 51:30.789 --> 51:35.149 in this case floating in the center of those framed panels. 51:35.150 --> 51:37.710 We are meant to read them as framed panels, 51:37.706 --> 51:39.956 not as views into some other world. 51:39.960 --> 51:45.560 Note also that some of the frames are done with vegetal and 51:45.559 --> 51:47.779 floral motifs: very, 51:47.780 --> 51:49.840 very delicate, very attractive, 51:49.838 --> 51:55.028 very ephemeral in a sense, very lightweight against that 51:55.025 --> 51:57.005 white background. 51:57.010 --> 52:00.150 So very much again another example of Third Style Roman 52:00.148 --> 52:01.078 wall painting. 52:01.079 --> 52:05.599 But then there is this room, and this room is Room 78, 52:05.599 --> 52:10.939 and Room 78 is extremely important for us, 52:10.940 --> 52:15.060 because we see something else is happening in Room 78. 52:15.059 --> 52:17.529 Yes, it does still have a white wall. 52:17.530 --> 52:22.680 Yes, it does still use a floral decoration for some of the 52:22.684 --> 52:23.504 frames. 52:23.500 --> 52:27.680 Yes, it does have framed panels, in this case not with 52:27.677 --> 52:31.297 black but with red frames, as you can see here: 52:31.304 --> 52:35.094 all elements of the Third Style, absolutely. 52:35.090 --> 52:37.970 So it partakes of a number of Third Style elements. 52:37.969 --> 52:41.429 The white wall itself is a very Third Style thing to do. 52:41.429 --> 52:44.409 But you will notice, of course, that something new 52:44.405 --> 52:47.875 has happened here, and that is more substantial 52:47.876 --> 52:51.196 architecture has been-- the representation of more 52:51.197 --> 52:54.777 substantial architecture-- has been reintroduced. 52:54.780 --> 52:57.820 If you look at these architectural elements that 52:57.818 --> 53:01.708 frame some of the panels, you will see that we see once 53:01.711 --> 53:04.921 again real columns, real columns that seem to 53:04.918 --> 53:08.698 support projecting lintels, and then through those--once 53:08.704 --> 53:11.304 again a white background in this case-- 53:11.300 --> 53:15.470 but through those we see other elements of architecture. 53:15.469 --> 53:20.199 Here a two-storied columnar monument, and over here what 53:20.202 --> 53:24.762 seems to be a broken triangular pediment, supported by 53:24.764 --> 53:26.834 substantial columns. 53:26.829 --> 53:31.739 So architecture is -- substantial architecture is 53:31.737 --> 53:37.357 reintroduced in the central zone, flanking the panels on 53:37.362 --> 53:39.002 either side. 53:39.000 --> 53:41.880 But it is a different architecture than we've ever 53:41.884 --> 53:45.184 seen before, because we never see a complete building. 53:45.179 --> 53:49.009 We see only fragments of buildings-- 53:49.010 --> 53:52.570 this broken triangular pediment on its own is an example of 53:52.568 --> 53:54.118 that-- fragments of buildings, 53:54.117 --> 53:56.737 which we will see are depicted in what I would describe as 53:56.735 --> 53:57.605 illogical space. 53:57.610 --> 54:03.010 They don't look like they're actually occupying space, 54:03.010 --> 54:04.550 the way a regular building would, or in what is 54:04.554 --> 54:05.834 characteristic of the Second Style, 54:05.829 --> 54:10.739 but fragments of buildings depicted in illogical space. 54:10.739 --> 54:13.879 And then, very important, in the uppermost zone, 54:13.880 --> 54:18.050 we see a depiction of a number of these fragments of 54:18.050 --> 54:20.760 architecture, all jumbled together, 54:20.762 --> 54:23.782 almost to create a building; although it isn't a building 54:23.780 --> 54:24.590 that actually works. 54:24.590 --> 54:27.310 I like to call these architectural cages, 54:27.309 --> 54:30.829 because they are individual elements, 54:30.829 --> 54:32.759 individual fragments, again that are grouped 54:32.760 --> 54:34.670 together, architectural cages, 54:34.670 --> 54:38.650 that often have in them very strange mythological and other 54:38.648 --> 54:42.218 creatures, most of whom are very difficult 54:42.219 --> 54:43.819 to identify today. 54:43.820 --> 54:47.650 So we see this incredible transition between the Third 54:47.652 --> 54:51.882 Style Roman wall painting, that Fabullus is using for the 54:51.884 --> 54:54.484 Domus Aurea, to something that is 54:54.481 --> 54:58.731 transitioning us into what we call the Fourth Style. 54:58.730 --> 55:05.040 In fact, I would call this room a Fourth Style Roman room, 55:05.039 --> 55:09.159 a Fourth Style painted room, and the genius behind this I 55:09.159 --> 55:12.029 would speculate was Fabullus himself. 55:12.030 --> 55:15.790 I want to show you another example of Fourth Style, 55:15.793 --> 55:20.013 because we believe Fourth Style--remember the date of the 55:20.007 --> 55:22.037 Domus Aureus, 64 to 68. 55:22.039 --> 55:25.579 So if it is being--if it is coming to the fore, 55:25.577 --> 55:30.117 the Fourth Style at that time, it means that it is about the 55:30.115 --> 55:33.035 time of the earthquake in Pompeii. 55:33.039 --> 55:36.349 And we do see paintings in Pompeii that we believe date 55:36.351 --> 55:40.161 between the earthquake of 62 and the eruption of Vesuvius of 79 55:40.155 --> 55:44.015 that are examples also of Fourth Style Roman wall painting. 55:44.019 --> 55:45.159 This is one of them. 55:45.159 --> 55:50.049 It's a wall from the House of the Vestals in Pompeii. 55:50.050 --> 55:53.990 It dates to 62 to 70 A.D., and we can see exactly what I 55:53.989 --> 55:56.569 was describing at the Domus Aurea. 55:56.570 --> 56:03.530 We look at the bottom part and we see that it still looks like 56:03.528 --> 56:07.678 a Third Style wall, in that we see golden panels 56:07.684 --> 56:10.804 and red panels with floating figures in the center, 56:10.800 --> 56:14.730 and with floral decorations around those. 56:14.730 --> 56:18.660 We see over here a mythological panel with a black frame around 56:18.655 --> 56:22.575 it that is meant to look like a panel picture hanging on a flat 56:22.579 --> 56:23.149 wall. 56:23.150 --> 56:27.320 All of that is exactly what we saw in the Third Style. 56:27.320 --> 56:30.970 But again what separates this from a Third Style painting is 56:30.967 --> 56:33.377 this reintroduction of architecture, 56:33.380 --> 56:36.600 over here--architecture presented against a white 56:36.599 --> 56:40.559 background-- but it's not a full building, 56:40.561 --> 56:45.191 it is a fragment of a building, a fragment of a building with 56:45.192 --> 56:47.212 substantial architectural members and a projecting 56:47.206 --> 56:48.066 entablature above. 56:48.070 --> 56:50.230 And then in the upper zone, again against a white 56:50.230 --> 56:52.610 background, those architectural cages, 56:52.614 --> 56:56.804 those fragments of architecture that have been jumbled together 56:56.797 --> 57:00.977 and are used as a milieu for these very strange creatures-- 57:00.980 --> 57:06.670 animal, human and the like--that are located in them, 57:06.670 --> 57:11.400 these architectural cages that are also decorated with strange 57:11.396 --> 57:15.576 and interesting ornamentation at the uppermost part. 57:15.579 --> 57:18.229 So another example of Fourth Style. 57:18.230 --> 57:22.600 Our very best examples of Fourth Style Roman wall painting 57:22.599 --> 57:25.819 all come from a single house in Pompeii. 57:25.820 --> 57:29.220 It is a house that we looked at together before. 57:29.219 --> 57:32.179 It is the House of the Vettii. 57:32.179 --> 57:35.639 You'll remember the kitchen in the House of the Vettii, 57:35.639 --> 57:38.199 for example, the wonderful garden that we 57:38.202 --> 57:39.422 explored there. 57:39.420 --> 57:44.750 It is also a house that has an incredible array of paintings, 57:44.750 --> 57:49.460 and it shows us several stages of the Fourth Style. 57:49.460 --> 57:53.720 And I should mention also that while we call these styles 57:53.715 --> 57:55.125 First, Second, Third, 57:55.128 --> 57:59.778 and Fourth, as anything else, they have substyles and 57:59.777 --> 58:04.607 transition periods; one can refer to Early Second 58:04.612 --> 58:08.012 Style, Mature Second Style, Late Second Style, 58:08.014 --> 58:11.874 Early Third Style--there are certain subtleties. 58:11.869 --> 58:13.929 Because again, remember, the artists who were 58:13.934 --> 58:16.484 making these were not thinking, "Oh, I'm transitioning 58:16.480 --> 58:17.960 from the Second to the Third Style." 58:17.960 --> 58:19.420 They were just moving on. 58:19.420 --> 58:23.180 They were experimenting with things they hadn't experimented 58:23.177 --> 58:26.487 before, and they soon found themselves in a different 58:26.489 --> 58:27.189 milieu. 58:27.190 --> 58:28.620 So there are those subtleties. 58:28.619 --> 58:30.999 And we can see those in the House of the Vettii. 58:31.000 --> 58:34.000 I can show you Early, Middle and even Late Fourth 58:33.996 --> 58:37.426 Style at the House of the Vettii, which is just what I'm 58:37.431 --> 58:38.681 going to do now. 58:38.679 --> 58:40.819 We're going to begin with Garden Room Q, 58:40.818 --> 58:42.848 which is the one that you see here; 58:42.849 --> 58:45.979 which you can see, from the Monument List, 58:45.980 --> 58:48.730 we believe dates to 62 to 70 A.D.; 58:48.730 --> 58:50.420 Garden Room Q. 58:50.420 --> 58:53.100 Now if all of Garden Room Q that was preserved, 58:53.099 --> 58:56.479 was the bottom part--if you didn't have that very top zone, 58:56.478 --> 58:58.748 and I asked you what style is this? 58:58.750 --> 59:02.070 You would probably tell me Third Style, and you'd be right 59:02.072 --> 59:03.592 that it was Third Style. 59:03.590 --> 59:07.440 But the addition of that zone in the uppermost part gives it 59:07.438 --> 59:09.458 away, as a Fourth Style wall. 59:09.460 --> 59:12.640 But it's again a very good example of an early one, 59:12.643 --> 59:15.003 because we can see this transition. 59:15.000 --> 59:17.540 So in the bottom, again very much adhering to the 59:17.536 --> 59:20.496 tenets of Third Style Roman wall painting: respecting the 59:20.498 --> 59:24.038 flatness of the wall; dividing the wall into a series 59:24.041 --> 59:26.731 of zones; a socle that's black; 59:26.730 --> 59:30.400 a main section that's red; sort of wings on either side 59:30.403 --> 59:31.723 that are also black. 59:31.719 --> 59:33.659 But as you look at this wall from a distance, 59:33.659 --> 59:38.049 those black elements look like stripes, 59:38.050 --> 59:40.240 large black stripes on the wall, and even within those 59:40.239 --> 59:42.139 black stripes we see these very attenuated, 59:42.139 --> 59:43.899 delicate colonnettes. 59:43.900 --> 59:46.300 Close up you can see that they're colonnettes, 59:46.304 --> 59:49.624 but from a distance again they look like gold stripes on a flat 59:49.617 --> 59:50.097 wall. 59:50.099 --> 59:56.279 Floating mythological figures in the center, 59:56.280 --> 1:00:01.000 as is characteristic of the Third Style, 1:00:01.000 --> 1:00:02.800 and then there was a panel painting over here that was 1:00:02.800 --> 1:00:04.500 rudely removed by treasure hunters at one point. 1:00:04.500 --> 1:00:07.210 So panel pictures, as well as floating 1:00:07.206 --> 1:00:08.886 mythological figures. 1:00:08.889 --> 1:00:12.109 And then at the uppermost part you see this addition: 1:00:12.108 --> 1:00:15.148 white ground, architectural cages, 1:00:15.152 --> 1:00:19.962 as I've described them, with a whole panoply of 1:00:19.958 --> 1:00:25.698 interesting mythological and other figures that are inserted 1:00:25.699 --> 1:00:29.009 into those architectural cages. 1:00:29.010 --> 1:00:31.980 So a very early example of Fourth Style Roman wall painting 1:00:31.981 --> 1:00:33.931 in the House of the Vettii in Rome . 1:00:33.929 --> 1:00:35.819 These again are so interesting in detail. 1:00:35.820 --> 1:00:41.000 If you blow this up to the size that we see it here, 1:00:41.000 --> 1:00:43.910 you will see that this is that black background in between the 1:00:43.909 --> 1:00:46.009 red panels that we were looking at before. 1:00:46.010 --> 1:00:48.320 You can see all kinds of strange things going on here in 1:00:48.320 --> 1:00:48.700 detail. 1:00:48.699 --> 1:00:51.109 A female figure, semi-naked. 1:00:51.110 --> 1:00:53.150 She's clashing her cymbals. 1:00:53.150 --> 1:00:56.420 She's dancing here, and she is supporting, 1:00:56.420 --> 1:00:58.680 on her head--she's oblivious to the fact that she's supporting 1:00:58.677 --> 1:01:01.637 on her head -- the base of one of these 1:01:01.643 --> 1:01:04.403 colonnettes; as you can see here, 1:01:04.398 --> 1:01:08.658 pays no heed whatsoever that she's serving as a support for 1:01:08.655 --> 1:01:10.045 the colonnettes. 1:01:10.050 --> 1:01:11.530 And then either side of her what we call herms, 1:01:11.530 --> 1:01:15.750 h-e-r-m-s, which are part human and part pedestal, 1:01:15.750 --> 1:01:21.010 male heads, bearded male heads carrying libation dishes, 1:01:21.010 --> 1:01:22.240 or whatever, on either side, 1:01:22.242 --> 1:01:24.802 and then a very interesting sacrifice scene down here. 1:01:24.800 --> 1:01:28.550 So again, as I've said so many times, looking at these 1:01:28.550 --> 1:01:32.940 paintings, the details of these paintings, is a very intriguing 1:01:32.938 --> 1:01:33.998 experience. 1:01:34.000 --> 1:01:38.300 The room that seems to be a good example of the mid-Fourth 1:01:38.302 --> 1:01:42.082 Style is the House of the Vettii, Room of Pentheus, 1:01:42.077 --> 1:01:44.717 which we date to around 70 A.D. 1:01:44.719 --> 1:01:45.999 You see it here. 1:01:46.000 --> 1:01:47.580 It is very well-preserved. 1:01:47.579 --> 1:01:50.879 It is a room in which the color gold abounds. 1:01:50.880 --> 1:01:54.300 As you can see, a maroon socle, 1:01:54.302 --> 1:01:57.042 the gold central zone. 1:01:57.039 --> 1:02:01.579 It partakes of Third Style in that you can see that the main 1:02:01.581 --> 1:02:04.951 parts of the wall are flat, with a panel, 1:02:04.949 --> 1:02:09.999 a mythological panel picture that is surrounded by a frame -- 1:02:10.000 --> 1:02:12.680 so just to make absolutely sure that the viewer understands that 1:02:12.679 --> 1:02:15.359 what they are looking at here is a panel picture that hangs on a 1:02:15.360 --> 1:02:17.630 flat wall, not a window into something 1:02:17.632 --> 1:02:18.722 that lies beyond. 1:02:18.719 --> 1:02:22.309 But we see in this central zone the reintroduction of 1:02:22.306 --> 1:02:25.306 architecture, substantial architecture, 1:02:25.306 --> 1:02:30.006 where you can really make out the columns and the pediments, 1:02:30.010 --> 1:02:32.580 but not full buildings, fragments of buildings: 1:02:32.581 --> 1:02:35.931 fragments of buildings that are represented in very illogical 1:02:35.934 --> 1:02:38.074 space, as you can see here. 1:02:38.070 --> 1:02:41.660 Again, substantial elements like this, with the supporting 1:02:41.655 --> 1:02:44.855 the columns, supporting the lintel with the coffered 1:02:44.862 --> 1:02:47.382 ceiling, represented in perspective. 1:02:47.380 --> 1:02:51.000 So all of that brought back. 1:02:51.000 --> 1:02:54.550 But again these are not full buildings, as we would see in 1:02:54.547 --> 1:02:56.967 the Second Style, but these fragments in 1:02:56.974 --> 1:02:58.224 illogical space. 1:02:58.219 --> 1:03:00.969 And a detail again of the same, that I just described, 1:03:00.965 --> 1:03:04.125 and it's interesting to compare it to some details from Second 1:03:04.125 --> 1:03:05.675 Style Roman wall painting. 1:03:05.679 --> 1:03:09.939 Think Fannius Sinistor or the Metropolitan Museum Cubiculum, 1:03:09.938 --> 1:03:14.338 where you can actually -- you really have a sense of what this 1:03:14.342 --> 1:03:15.572 building was. 1:03:15.570 --> 1:03:18.760 There's a doorway that leads in, and then there are a series 1:03:18.755 --> 1:03:22.095 of tiers, and there's a balcony, and everything connects to one 1:03:22.101 --> 1:03:22.751 another. 1:03:22.750 --> 1:03:24.720 But here we see something quite different, 1:03:24.719 --> 1:03:27.979 where we see not a whole building, or parts of a building 1:03:27.981 --> 1:03:30.761 together, but rather these individual 1:03:30.764 --> 1:03:34.484 pieces that are depicted, as I mentioned, 1:03:34.481 --> 1:03:37.201 in a very illogical way. 1:03:37.199 --> 1:03:40.539 The glory of Fourth Style Roman wall painting-- 1:03:40.539 --> 1:03:43.699 it depends on your taste, because it's very gaudy as 1:03:43.702 --> 1:03:46.082 well-- but one could say that the 1:03:46.077 --> 1:03:48.597 greatest preserved or-- the most interesting, 1:03:48.603 --> 1:03:51.523 let's put it that way-- the most interesting preserved 1:03:51.519 --> 1:03:55.139 Fourth Style wall is also in the House of the Vettii. 1:03:55.139 --> 1:03:58.409 It is in the Ixion Room of the House of the Vettii. 1:03:58.409 --> 1:04:01.639 We believe it dates to 70 to 79. 1:04:01.639 --> 1:04:05.699 It is our, an example of full-blown Fourth Style, 1:04:05.702 --> 1:04:07.822 at its most incredible. 1:04:07.820 --> 1:04:11.490 And it's almost as if this artist wanted to be remembered 1:04:11.485 --> 1:04:14.565 for posterity-- we don't know his name 1:04:14.568 --> 1:04:17.788 unfortunately-- but remembered for posterity as 1:04:17.789 --> 1:04:21.139 the person who created the textbook example of Fourth Style 1:04:21.141 --> 1:04:22.471 Roman wall painting. 1:04:22.469 --> 1:04:26.479 And what's fascinating about it is what he has done is he has 1:04:26.480 --> 1:04:29.150 mixed together all of the earlier styles: 1:04:29.153 --> 1:04:31.363 First, Second, Third, Fourth. 1:04:31.360 --> 1:04:35.060 First we see the socle down here is-- 1:04:35.059 --> 1:04:38.659 it's all done in paint, but it is painted to represent 1:04:38.655 --> 1:04:41.635 marble or to imitate marble incrustation, 1:04:41.639 --> 1:04:44.529 just as we saw in the First Style. 1:04:44.530 --> 1:04:47.220 So the marble incrustation of the First Style, 1:04:47.221 --> 1:04:49.491 used for the socle, but again in paint, 1:04:49.492 --> 1:04:50.572 not in relief. 1:04:50.570 --> 1:04:55.960 The Second tier we see the substantial columns supporting 1:04:55.960 --> 1:05:00.480 lintels and entablatures with coffered ceilings, 1:05:00.483 --> 1:05:05.603 represented in depth; that's a Second Style element. 1:05:05.599 --> 1:05:07.829 Third Style, these panels, 1:05:07.826 --> 1:05:12.186 red with mythological paintings in the center, 1:05:12.190 --> 1:05:15.120 with frames, and over here a white panel 1:05:15.121 --> 1:05:19.561 with floral decoration and floating mythological figures; 1:05:19.559 --> 1:05:21.539 those are elements of the Third Style. 1:05:21.539 --> 1:05:24.499 And the Fourth Style, reintroduction of architecture 1:05:24.503 --> 1:05:27.593 in the central zone, fragments of architecture, 1:05:27.588 --> 1:05:30.988 not full buildings, fragments of architecture 1:05:30.994 --> 1:05:33.314 depicted in illogical space. 1:05:33.309 --> 1:05:38.429 And then in the uppermost tier, these architectural cages, 1:05:38.429 --> 1:05:42.599 peopled with all kinds of strange figures, 1:05:42.599 --> 1:05:46.549 animals, divinities, personifications, 1:05:46.550 --> 1:05:48.350 and the like. 1:05:48.349 --> 1:05:52.999 So all of those four styles brought together in one place. 1:05:53.000 --> 1:05:55.800 Here's another view, one that perhaps gives you an 1:05:55.800 --> 1:05:58.130 even better sense, not of everything I've 1:05:58.132 --> 1:06:01.172 described, but of the overall appearance of this room as one 1:06:01.172 --> 1:06:02.052 walks into it. 1:06:02.050 --> 1:06:05.140 It's actually a very small room, but it gives you the sense 1:06:05.143 --> 1:06:06.053 of grandiosity. 1:06:06.050 --> 1:06:08.420 And this is interesting too because you see in this case the 1:06:08.416 --> 1:06:12.106 artist has kind of matched up -- he's represented two very 1:06:12.106 --> 1:06:15.146 similar fragments, one on either side, 1:06:15.150 --> 1:06:18.000 that in a sense, as you stare at it, 1:06:17.998 --> 1:06:21.358 gives you the sense, or at least gives me the sense, 1:06:21.358 --> 1:06:23.898 that perhaps maybe there is something that continues behind 1:06:23.903 --> 1:06:26.583 the wall or behind the central mythological panel picture that 1:06:26.579 --> 1:06:27.369 you see here. 1:06:27.369 --> 1:06:31.569 But this is quintessential, quintessential Fourth Style 1:06:31.568 --> 1:06:33.278 Roman wall painting. 1:06:33.280 --> 1:06:36.890 1:06:36.889 --> 1:06:43.239 And I think I had--I meant to show you also one more detail 1:06:43.242 --> 1:06:46.702 here, where you can see again--here 1:06:46.695 --> 1:06:51.485 you can see one of these elements with the fragments of 1:06:51.489 --> 1:06:54.449 architecture, an illogical space in detail, 1:06:54.445 --> 1:06:57.385 and you can see even here too there are strange things going 1:06:57.389 --> 1:06:57.689 on. 1:06:57.690 --> 1:07:01.210 We see masks reintroduced in the Fourth Style. 1:07:01.210 --> 1:07:06.890 We see in this case that mask is supported by a panel picture 1:07:06.887 --> 1:07:12.657 that represents a curved staff, an animal, some baskets on top 1:07:12.659 --> 1:07:14.079 of a table. 1:07:14.079 --> 1:07:18.139 You try to interpret exactly what all this meant. 1:07:18.139 --> 1:07:21.949 But it's interesting how much detail is put into these. 1:07:21.949 --> 1:07:24.589 Even though each of these individual items are difficult 1:07:24.590 --> 1:07:26.990 to see, when you walk into a room like 1:07:26.990 --> 1:07:28.830 this, you tend to look at the whole, 1:07:28.833 --> 1:07:31.883 not at the individual details, and yet the artists, 1:07:31.882 --> 1:07:36.572 patrons and so on have paid a great deal of attention to that 1:07:36.568 --> 1:07:37.348 detail. 1:07:37.349 --> 1:07:40.269 I want to show you lastly, and thought we could talk about 1:07:40.271 --> 1:07:42.581 this for a few minutes ourselves together, 1:07:42.579 --> 1:07:48.289 one last Fourth Style, or part of a Fourth Style Roman 1:07:48.286 --> 1:07:50.006 wall painting. 1:07:50.010 --> 1:07:54.990 It is a fragmentary wall that we attribute to the Fourth Style 1:07:54.987 --> 1:07:59.557 that came from Herculaneum, and dates also to this latest 1:07:59.557 --> 1:08:02.167 phase, sometime to 70 to 79. 1:08:02.170 --> 1:08:06.570 And it's quite interesting, in view not only of what we've 1:08:06.572 --> 1:08:09.492 discussed today, but in everything we've talked 1:08:09.492 --> 1:08:12.452 about with regard to the four styles of Roman wall painting in 1:08:12.445 --> 1:08:13.555 the last week or so. 1:08:13.559 --> 1:08:18.599 I wondered what part of the wall you think this came from, 1:08:18.600 --> 1:08:22.110 and what you find interesting about it, 1:08:25.461 --> 1:08:26.171 painting. 1:08:26.170 --> 1:08:30.180 Someone like to volunteer to begin? 1:08:30.180 --> 1:08:33.400 1:08:33.399 --> 1:08:33.539 Yes? 1:08:33.542 --> 1:08:35.682 Student: This may be off, but one thing I noticed was 1:08:35.680 --> 1:08:37.570 it looks like curtains up on the top right-hand-- 1:08:37.569 --> 1:08:38.229 Prof: Yes. 1:08:38.231 --> 1:08:39.871 Student: > 1:08:39.868 --> 1:08:40.628 Prof: Yes. 1:08:40.632 --> 1:08:43.152 Yes, we've been debating this whole question of the black 1:08:43.145 --> 1:08:45.175 curtains, and there's a post now online, 1:08:45.179 --> 1:08:47.159 and I hope that you'll all add to that, 1:08:47.158 --> 1:08:51.008 as we continue that conversation. 1:08:51.010 --> 1:08:53.740 This one, in this particular case, it seems incontrovertible 1:08:53.743 --> 1:08:55.833 that what is represented here is a curtain. 1:08:55.828 --> 1:08:57.308 There's no question that's a curtain. 1:08:57.310 --> 1:08:58.550 It's hanging up there. 1:08:58.550 --> 1:09:04.270 So we get the sense that it has been raised on what is a kind of 1:09:04.273 --> 1:09:07.093 a stage set that lies behind. 1:09:07.090 --> 1:09:08.460 So, great point. 1:09:08.460 --> 1:09:10.690 What else strikes you about this? 1:09:10.689 --> 1:09:10.949 Yes? 1:09:10.949 --> 1:09:14.729 Student: Based on the perspective, wouldn't this be 1:09:14.730 --> 1:09:17.990 like a flanking panel to maybe the central one? 1:09:17.988 --> 1:09:19.908 Prof: Yes, based on the perspective that's 1:09:19.908 --> 1:09:21.658 used here, based on the fact that there's 1:09:21.658 --> 1:09:24.358 a white background-- which isn't always the case in 1:09:24.363 --> 1:09:27.333 Fourth Style painting, but it tends to be the case, 1:09:27.332 --> 1:09:29.892 for most of it-- one could speculate that this 1:09:29.893 --> 1:09:33.313 is either one of those elements that has been reintroduced in 1:09:33.313 --> 1:09:36.353 the main zone, on either side of the central 1:09:36.354 --> 1:09:43.104 panel, or--what else might it be? 1:09:43.100 --> 1:09:43.290 Yes? 1:09:43.286 --> 1:09:45.656 Student: The illogical space on the right. 1:09:45.658 --> 1:09:48.268 Prof: Right, the illogical--part of a 1:09:48.269 --> 1:09:50.089 building in illogical space. 1:09:50.090 --> 1:09:51.770 But it might be in the central zone, 1:09:51.770 --> 1:09:55.450 as one of those side wings, but it might also be way up in 1:09:55.448 --> 1:09:57.968 the top, as one of the architectural 1:09:57.974 --> 1:10:00.734 cages that we see in the uppermost part; 1:10:00.729 --> 1:10:02.919 that's also possible. 1:10:02.920 --> 1:10:05.160 So what is being depicted here? 1:10:05.159 --> 1:10:10.709 1:10:10.710 --> 1:10:13.620 Obviously a stage set of some sort. 1:10:13.618 --> 1:10:16.578 How would you describe this architecture in the foreground? 1:10:16.579 --> 1:10:21.279 1:10:21.279 --> 1:10:21.889 You all know. 1:10:21.890 --> 1:10:24.820 Just state the obvious. 1:10:24.819 --> 1:10:25.809 It looks like, why? 1:10:25.805 --> 1:10:27.935 It looks like Second Style because--? 1:10:27.939 --> 1:10:29.239 Student: It's projecting the--it's 1:10:29.243 --> 1:10:29.693 substantial. 1:10:29.689 --> 1:10:32.029 It's in perspective and it's projecting out. 1:10:32.029 --> 1:10:32.899 Prof: Good. 1:10:32.903 --> 1:10:35.043 We have substantial architectural elements. 1:10:35.038 --> 1:10:38.498 It's clear that these are real columns with real capitals at 1:10:38.502 --> 1:10:39.092 the top. 1:10:39.090 --> 1:10:41.660 Those capitals project into our space. 1:10:41.658 --> 1:10:48.008 The artist has made an effort to depict recession into space, 1:10:48.010 --> 1:10:49.540 as well, because you can see the way in which these piers are 1:10:49.543 --> 1:10:50.513 angled, for example, 1:10:50.509 --> 1:10:53.999 back, to give one the sense that we are looking at something 1:10:53.997 --> 1:10:55.237 depicted in space. 1:10:55.238 --> 1:10:57.848 You can see the coffered ceiling up here, 1:10:57.846 --> 1:11:01.366 the projecting entablatures, the mask, which is another 1:11:01.368 --> 1:11:03.648 reference to things theatrical. 1:11:03.649 --> 1:11:06.609 But is there one-point perspective here? 1:11:06.609 --> 1:11:09.099 Or is there any attempt to depict one-point perspective? 1:11:09.100 --> 1:11:11.960 Or is it some other kind of perspective, and if so, 1:11:11.957 --> 1:11:13.497 what kind of perspective? 1:11:13.500 --> 1:11:18.890 1:11:18.890 --> 1:11:19.660 What kind of perspective? 1:11:19.659 --> 1:11:25.269 1:11:25.270 --> 1:11:27.730 No one knows? 1:11:27.729 --> 1:11:28.639 Yes? 1:11:28.640 --> 1:11:31.550 Student: > 1:11:31.550 --> 1:11:33.300 Prof: No. 1:11:33.300 --> 1:11:34.180 What? 1:11:34.180 --> 1:11:37.560 Student: > 1:11:37.560 --> 1:11:42.520 Prof: Yes, but it's more like atmospheric 1:11:42.520 --> 1:11:44.000 perspective? 1:11:44.000 --> 1:11:44.590 No? 1:11:44.590 --> 1:11:45.350 Disagree? 1:11:45.350 --> 1:11:49.270 Atmospheric perspective, so that again what's in the 1:11:49.274 --> 1:11:52.204 foreground is the outlines are firm; 1:11:52.198 --> 1:11:54.968 what's in the background is very, very fuzzy, 1:11:54.974 --> 1:11:56.934 and gets fuzzier and fuzzier. 1:11:56.930 --> 1:11:59.380 Let me show you a detail of this. 1:11:59.380 --> 1:12:03.020 1:12:03.020 --> 1:12:05.730 If you blow it up, you can see--try to count-- 1:12:05.729 --> 1:12:07.699 I don't know if you're counting at all-- 1:12:07.698 --> 1:12:10.038 but if you try to count the zones of space here, 1:12:10.039 --> 1:12:11.309 you'd go berserk. 1:12:11.310 --> 1:12:15.100 Clearly they are trying to conjure up space, 1:12:15.100 --> 1:12:19.940 something that perhaps recedes, but it seems to be done by 1:12:19.940 --> 1:12:23.000 means of atmospheric perspective, 1:12:23.000 --> 1:12:27.870 where the objects in the foreground are represented with 1:12:27.872 --> 1:12:30.932 the firmest outlines, and those in the background 1:12:30.925 --> 1:12:33.365 with the fuzziest outlines, as you can see here. 1:12:33.368 --> 1:12:35.728 If you blow it up, you can see that the details 1:12:35.734 --> 1:12:36.614 are incredible. 1:12:36.609 --> 1:12:39.179 You can see the decoration in the friezes. 1:12:39.180 --> 1:12:42.810 You can see some of the figural decoration: the capitals and so 1:12:42.814 --> 1:12:43.874 on and so forth. 1:12:43.868 --> 1:12:48.818 But it is lost in this--it is lost in something of a haze, 1:12:48.819 --> 1:12:50.729 as you can see here. 1:12:50.729 --> 1:12:54.499 So it's a very good example of Fourth Style Roman wall 1:12:54.497 --> 1:12:55.277 painting. 1:12:55.279 --> 1:12:58.919 As has been suggested, it is a piece of the wall. 1:12:58.920 --> 1:13:00.780 It could be one of the wings. 1:13:00.779 --> 1:13:02.869 It could be in the uppermost zone. 1:13:02.868 --> 1:13:07.038 It certainly makes reference to things theatrical. 1:13:07.038 --> 1:13:08.938 It certainly conjures up in some ways Second Style. 1:13:08.939 --> 1:13:15.389 But it is clearly an example of Fourth. 1:13:15.390 --> 1:13:18.040 And again I'm glad that the issue of the curtains was 1:13:18.038 --> 1:13:21.298 raised, because I think that's a particularly interesting one. 1:13:21.300 --> 1:13:24.010 And because here we can really see a full-bodied curtain, 1:13:24.010 --> 1:13:27.600 I think it will help to add to the speculation that is already 1:13:27.603 --> 1:13:29.443 going on, in the online forum, 1:13:29.444 --> 1:13:32.344 and about which I hope we can continue to engage, 1:13:32.340 --> 1:13:34.510 in the days ahead. 1:13:34.510 --> 1:13:37.310 We will have one last lecture on Roman painting, 1:13:37.310 --> 1:13:39.720 on Thursday, which is entitled "Special 1:13:39.720 --> 1:13:42.070 Subjects," and I'm going to deal there 1:13:42.074 --> 1:13:45.444 with everything I haven't dealt with in the four styles. 1:13:45.439 --> 1:13:48.989 And then we are going to get back fully to architecture. 1:13:48.988 --> 1:13:52.498 We'll go to Rome and we'll begin to look at the 1:13:52.502 --> 1:13:56.552 architecture under the emperors Augustus and so on. 1:13:56.550 --> 1:13:56.900 Thanks. 1:13:56.899 --> 1:14:01.999