Spatial Dimensions in Roman Wall Painting and the Interplay of Enclosing and Enclosed Space: A New Perspective on Second Style

Abstract

This article engages with the interplay of two-dimensional and three-dimensional wall decoration in Roman wall decoration of the so-called four Pompeian styles. Instead of describing the rapid changes in the use (or non-use) of techniques for creating perspectival depth in August Mau’s four styles within an autonomous development of decorative principles, either favoring surface over depth, or vice versa, this article will discuss the imaginary space/surface on the walls in relation to the ‘real’ space enclosed by the decorated walls and—foremost—their inhabitants as the actual referent of the decoration. The discussion will focus on second-style wall decoration, with glimpses on the earlier first and later third and fourth styles in a final section.

SIGraDi 2022. Critical Appropriations

“…These frescos were intended to be immersive and many of them were meant to be viewed as virtual realities that expanded the space of the room and ultimately refocused attention to the center and onto its occupants. They used theatrical techniques that drew the gaze out and back into the space of the room (Dietrich, 2019). While the frescos provided virtual space, these rooms functioned in what would be termed today as a hybrid or augmented reality model allowing for the frescos to support the action within the space of the room.…”