DOI Page / Citation link:
https://doi.org/10.11588/diglit.61617#0138
THE MACELLUM
97
murder of her children. The whole arrangement is in excellent
taste, while the execution is careful and delicate.
The treatment of the upper part of the wall is especially worthy
of note. Generally in walls of the fourth style the portion
above the large panels is filled with airy architectural designs
upon a white or at least a bright ground. In this instance
the fantastic architectural forms in the spaces between the
black panels are continued upwards to the ceiling, and in the
midst of each group a standing figure is painted on a blue
ground —a girl with utensils for sacrifice, a satyr playing the
Fig. 37. — The Macellum, restored.
flute; but the spaces above the panels are completely filled with
representations of the things exposed for sale. Unfortunately
only a few of these pictures remain. One contains birds, some
alive, some killed and dressed; in another, different kinds of
fish are seen ; and a third presents a variety of vessels in which
wine and other liquids could be kept. This departure from the
usual style of decoration, unique in its way, can be explained
only as having a direct reference to the purpose of the building.
In two small pictures in the black panels of the north entrance
Cupids take the place of men. The Pompeians were very fond
of the representation of Cupids as engaged in human occupa-
tions; it gave opportunity for the poetic treatment of everyday
H
97
murder of her children. The whole arrangement is in excellent
taste, while the execution is careful and delicate.
The treatment of the upper part of the wall is especially worthy
of note. Generally in walls of the fourth style the portion
above the large panels is filled with airy architectural designs
upon a white or at least a bright ground. In this instance
the fantastic architectural forms in the spaces between the
black panels are continued upwards to the ceiling, and in the
midst of each group a standing figure is painted on a blue
ground —a girl with utensils for sacrifice, a satyr playing the
Fig. 37. — The Macellum, restored.
flute; but the spaces above the panels are completely filled with
representations of the things exposed for sale. Unfortunately
only a few of these pictures remain. One contains birds, some
alive, some killed and dressed; in another, different kinds of
fish are seen ; and a third presents a variety of vessels in which
wine and other liquids could be kept. This departure from the
usual style of decoration, unique in its way, can be explained
only as having a direct reference to the purpose of the building.
In two small pictures in the black panels of the north entrance
Cupids take the place of men. The Pompeians were very fond
of the representation of Cupids as engaged in human occupa-
tions; it gave opportunity for the poetic treatment of everyday
H