From the fifth style to Constantine
With the eruption of Mount Vesuvius in 79 AD a very important source of Roman paintings dried up forever. Later painting was discussed especially by Fritz Wirth (Römische Wandmalerei vom Untergang Pompejis bis ans Ende des dritten Jahrhunderts, 1934), Maurizio Borda (La pittura romana, 1958), and Wladimiro Dorigo (Late Roman Painting. A Study of Pictorial Records 30 BC - AD 500, 1966, English edition 1971).
Later Roman painting has often been discussed with contempt. For Roger Ling, Roman painting ended in Pompeii, in 79 AD: elements from the second and fourth style were from then on merely repeated, and nothing new was invented (Roman Painting, 1991). A different view was developed by Harald Mielsch, who recognizes further styles (Römische Wandmalerei, 2001).[1]
In the Hadrianic period, says Mielsch, paintings have indeed many characteristics of the second and fourth style, such as the imitation of marble, but a fifth style can be clearly defined. Architectural elements are changed to coloured fields and bands. The colours become milder, pastel shades as in watercolors. Human figures stand on a stance line. Vistas show a blue sky without architecture.
An example of the fifth style: drawing from 1778 of paintings in the Villa Negroni, Rome.
Adonis dying in the lap of Venus. Image: Wellcome Trust.
An example of the fifth style: Villa Grande (San Sebastiano), Rome.
The sixth style belongs to the reigns of Antoninus Pius and Marcus Aurelius. The walls are closed, with red and yellow areas with long, slender columns. A statue-like figure is in the centre of the areas. Sometimes there is a vista with a red background with oblique architraves, but without landscapes. Also to this period belong monochrome walls, also with a white background, and yellow or red architectural elements. Examples are found especially in Ostia: Casa delle Muse, Casa del Soffitto Dipinto, Casa di Giove e Ganimede, Caseggiato del Temistocle.
The seventh style belongs to the reigns of Commodus and the entire Severan period (circa 180 - 240 AD). Three groups have been distinguished. In the first group, architectural elements are stressed, through protruding, realistic columns and double columns. The main background is red, purple or yellow, with aediculae and pairs of pillars framing white areas. Divine figures no longer stand on a floor line, but float. These are not in the centre, but on the ends of the wall. In the centre are heads of the seasons. On the lower part of the wall are protruding socles, supporting vessels with fruit, animals, human figures or divinities. The human figures are elongated, turned, looking back. Completely new is the depiction of servants.
An example of the seventh style: Basilica Thermarum (Piazza dei Cinquecento), Rome.
In the second group coloured areas of different shapes, containing figures, are stitched together. There are no architectural elements. Examples are found in Ostia (Caupona del Pavone, Casa delle Volte Dipinte). The third group is characterized by a red-and-green linear pattern on a white background. Sometimes the lines are blue. It is a minimalist style, with simplified filling ornaments. It is found often in the catacombs.
An example of the seventh style: Villa Piccola (San Sebastiano), Rome.
Little evidence has been found from the later third century and the Tetrarchy (285 - 305 AD). It seems that the architectural elements disappear and that the figures become larger. Entwined squares and circles appear.
An example from the later third century: Domus Praeconum, Rome.
During the reign of Constantine a new style was created. The best known example are the paintings from the ceiling of a palace in Trier, Germany, but examples have also been found in Rome. In Trier the paintings are dominated by female busts, philosophers and dancing erotes. Perspective and architectural elements are missing.
 An example from the early fourth century: Constantinian palace, Trier, Germany. Photos: Bistum Trier. |
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[1] See M.E. Habicht, "Römische Wandmalerei nach dem Untergang der Vesuvstädte", handout Referat 4. Juni 2007.