DOI Page / Citation link:
https://doi.org/10.11588/diglit.61617#0525
44§
POMPEII
of construction. It now remains to illustrate these by typical
examples and to trace their inner connection. We are here
concerned only with the decorative designs, or ornamental
framework of the walls; the paintings, which formed the
centre of interest in the later styles, are reserved for consid-
eration in a separate chapter.
The development of ancient wall decoration came compara-
tively late, after the art of painting, in the hands of the Greek
masters, had reached and passed its climax. Yet we know
almost nothing in regard to the earlier stages. Apparently the
system which we find at Pompeii originated in the period fol-
lowing the death of Alexander the Great, and received its impulse
of development from the contact of Greece with the Orient.
But whatever the origin, from the time to which the earliest
specimens at Pompeii belong — the second century b.c. — to
the destruction of the city, we can trace an uninterrupted de-
velopment, which, nevertheless, comes to an end in the latter
part of the first century a.d.
The decline is characterized by increasing poverty of design,
with feeble imitation of past styles. Just as it is setting in, how-
ever, extant examples become rare. Some specimens of the
wall decoration of later times, as of the period of the Antonines
and the reign of Septimius Severus, are preserved, but they are
isolated and not sufficient in number to enable us to follow the
stages of the decline. Thus it happens that the only period in
the history of ancient wall decoration in regard to which we
have the materials for a full and satisfactory study, is the period
exemplified in the remains at Pompeii, the chronological sequence
of which extends over two centuries.
The oldest houses, those belonging to the Period of the Lime-
stone Atriums (p. 39), have preserved no traces of wall decora-
tion beyond the limited application of white stucco.
The remains of the decoration of the Tufa Period are fairly
abundant, and are well preserved on account of the excellent
quality of the stucco to which the colors were applied. They
belong to the first or Incrustation Style. A good example
has already been given, the end wall of a bedroom in the house
of the Centaur (Fig. 117); we present here, for more detailed
POMPEII
of construction. It now remains to illustrate these by typical
examples and to trace their inner connection. We are here
concerned only with the decorative designs, or ornamental
framework of the walls; the paintings, which formed the
centre of interest in the later styles, are reserved for consid-
eration in a separate chapter.
The development of ancient wall decoration came compara-
tively late, after the art of painting, in the hands of the Greek
masters, had reached and passed its climax. Yet we know
almost nothing in regard to the earlier stages. Apparently the
system which we find at Pompeii originated in the period fol-
lowing the death of Alexander the Great, and received its impulse
of development from the contact of Greece with the Orient.
But whatever the origin, from the time to which the earliest
specimens at Pompeii belong — the second century b.c. — to
the destruction of the city, we can trace an uninterrupted de-
velopment, which, nevertheless, comes to an end in the latter
part of the first century a.d.
The decline is characterized by increasing poverty of design,
with feeble imitation of past styles. Just as it is setting in, how-
ever, extant examples become rare. Some specimens of the
wall decoration of later times, as of the period of the Antonines
and the reign of Septimius Severus, are preserved, but they are
isolated and not sufficient in number to enable us to follow the
stages of the decline. Thus it happens that the only period in
the history of ancient wall decoration in regard to which we
have the materials for a full and satisfactory study, is the period
exemplified in the remains at Pompeii, the chronological sequence
of which extends over two centuries.
The oldest houses, those belonging to the Period of the Lime-
stone Atriums (p. 39), have preserved no traces of wall decora-
tion beyond the limited application of white stucco.
The remains of the decoration of the Tufa Period are fairly
abundant, and are well preserved on account of the excellent
quality of the stucco to which the colors were applied. They
belong to the first or Incrustation Style. A good example
has already been given, the end wall of a bedroom in the house
of the Centaur (Fig. 117); we present here, for more detailed