Detailed Study Notes on Iconography of Greek and Roman Wall Painting

Iconographies of Greek and Roman Wall Painting

Abstract

The iconography of wall painting in the ancient world (ca 300 BC – AD 100) focuses on both decorative systems that adorned walls of buildings and the figural elements within these systems. This study delves into the contexts of wall systems from the first and second styles of Greek and Roman wall paintings and explores the meaning of colors used in these decorations. It also examines figural motifs not solely as reflections of the patron's political or personal ideas but as representations of mentalité linked with the societal developments of the period.

Keywords

  • Greco-Roman Wall Painting

  • Iconography

  • Vitruvius

  • Macedonia

  • Pompeii

  • Rome

Introduction

The study of iconography in ancient mural painting reveals a rich world of images, especially prevalent in Roman houses buried by Vesuvius in AD 79 and beyond, both geographically and temporally. From the mid-1st century, framed figural scenes became a prominent feature of mural compositions. Central images varied from imagined vistas, architectural façades such as aediculae, to figural scenes presented on panels. Commonly depicted subjects included mythical images, still lives, landscapes, and portraits, with rare instances of scenes depicting real life or historical events. Notably, the focus of this analysis is largely on the ample preservation of materials from Pompeii, although works from other areas and periods, though potentially rarer, have received less scholarly attention.

Mural Systems and Iconology

Mural decorations deserving of scholarly attention range from architectural fragments to complete compositions. The notion of iconology, characterized by various iconographies, implies a wide range of messages articulated by both figural scenes and compositional elements that constitute wall decoration systems. Analyzing these creations thus reveals insights into the presence, display, and prestige of Roman wall paintings, integral in understanding their contexts and significance. Furthermore, this paper will explore two points of view regarding the decorative repertoire:

  1. Iconography of wall decoration structure and color.

  2. Iconography of images.

Iconography of Wall Structure and Color

The decorative technique observed in the palace-like houses of Pella featured a suggestion of marble veneer covering walls up to five meters high. The upper wall portions were divided by pilasters with Doric capitals, with red marble block parapets from which blue openings suggested vistas to the sky, creating an illusion of connection to the cosmos. These architectural systems are paralleled in other examples, such as the second-century 'Bau Z' in Pergamon and the Samnite House in Herculaneum. The use of veneer imitations and architectural visual cues enhanced the perceived grandeur of these homes. Vitruvius, writing in the early reign of Augustus, documented these decorative techniques, describing how they created an atmosphere for elite Roman dwellings, emphasizing that the use of real marble was considered a sign of excess. The first and second styles of Roman mural painting highlighted such techniques, further evidenced through comparisons with Macedonian practices.

Figural Elements in Murals

Figural elements in austere murals can sometimes be abundant, as seen in the House of the Comedians at Delos, which featured a frieze of comedy players. The appearance of these decorative features can be traced back to descriptions in Vitruvius's works. Although these figural depictions are often interpreted within their architectural contexts, they are also reflective of a broader societal commentary.

The Role of Color in Iconography

The ancient painters typically did not assign specific iconographical meanings to individual colors, as modern interpretations might suggest. Rather, colors served more as enhancements of the work’s quality, influenced by the artist’s skill. For example, in Rome, the careful selection of expensive pigments was a way to convey ideological prestige, reflecting societal values rather than personal narratives. This understanding of color usage in ancient decoration emphasizes its role in establishing the overall aesthetic and ambiance of a room, linking back to practical considerations such as light and space within the constructions themselves.

Iconography of Images

While it might seem that images should be the main focus of this discussion, it is crucial to consider their spatial context. Historical accounts indicate that while various figural scenes were prominent, their contextual framing was paramount. For instance, artworks in the Stoa Poikile included primarily historical subjects—such as the battle of Marathon—indicating a cultural inclination towards recognizable narratives over mythological themes. Unfortunately, few remnants of figural paintings or descriptions remain from houses, which considerably limits our understanding of their iconographic significance.