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  3. Oplontis: Villa A ("of Poppaea") at Torre Annunziata, Italy. Volume 2. The Decorations: Painting, Stucco, Pavements, Sculptures

Oplontis: Villa A ("of Poppaea") at Torre Annunziata, Italy. Volume 2. The Decorations: Painting, Stucco, Pavements, Sculptures

John R. Clarke and Nayla K. Muntasser
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  • Contents

  • Stats

  • Title Page
  • Copyright and Permissions
  • Acknowledgments
  • List of Illustrations
    • Chapter 1
    • Chapter 2
    • Chapter 3
    • Chapter 4
    • Chapter 5
    • Chapter 6
    • Chapter 7
    • Chapter 8
    • Chapter 9
    • Chapter 10
    • Chapter 11
    • Chapter 12
    • Chapter 13
    • Chapter 14
    • Chapter 15
    • Chapter 16
    • Chapter 17
    • Chapter 18
    • Chapter 19
    • Chapter 20
    • Chapter 21
    • Chapter 22
    • Chapter 23
    • Chapter 24
  • Premessa. Massimo Osanna
  • Introduction. John R. Clarke and Nayla K. Muntasser
  • Chapter 1. Regina Gee. “The Period Styles and Period-Style Restorations”
    • Introduction
    • The Second Style at Villa A
    • The Second Style and the “Boscoreale” workshop at Villa A
    • Third- and Fourth-Style painters in the Second-Style rooms of Villa A
    • The Third Style at Villa A
    • Fourth-Style Painters in the Third-Style Rooms of Villa A
    • The Fourth Style at Villa A
    • Fourth-Style Design Categories: “Tapestry Manner,” Garden Rooms, and Imitation Stone
    • Fourth-Style Ceiling Decoration
    • Two Fourth-Style Workshops: A and B
    • Notes
  • Chapter 2. Eric M. Moormann. “The Second-Style Paintings at Oplontis”
    • Previous Scholarship
    • Atrium 5
    • Walls in Corridors at South of Atrium
    • Cubiculum 11
    • Oecus 12
    • Triclinium 14
    • Oecus 15
    • Oecus 23
    • Workshop
    • Notes
  • Chapter 3. John R. Clarke. “Decorations of the Early Third Style at Oplontis Villa A”
    • Dating the Third Style
    • New and Remodeled Wall Painting
    • Third-Style Mosaics
    • Conclusions
    • Catalogue of Fragments Currently Stored in Villa A, Room 29
    • Notes
  • Chapter 4. Domenico Esposito. “Il IV Stile nella Villa A di Oplontis”
    • Introduzione
    • Descrizione degli ambienti
    • Ambienti posti intorno al settore dell’atrio
    • Ambienti dell’ala orientale
    • Ambienti del settore dell’atriolum del balneum
    • Conclusioni
    • Notes
  • Chapter 5. Bettina Bergmann. “Reading the Garden Paintings in Villa A at Oplontis”
    • Painted Gardens in the West and East Wings of Villa A
    • The Villa Frescoes and the Genre of Roman Garden Painting
    • Conclusion
    • Notes
  • Chapter 6. Ivo van der Graaff. “The Recovered Tympanum of Cubiculum 11: A New Document for the Study of City Walls”
    • Notes
  • Chapter 7. Gregory Tucker and Matthew Naglak. “Pinguntur enim portus: The Spatio-Temporal Context of Maritime Landscape Painting at Villa A”
    • Introduction to Access Graphs and Visibility Analysis
    • Third- and Fourth-Style Maritime Scenes
    • Conclusions
    • Tables
    • Notes
  • Chapter 8. Paolo Baronio. “Alcune considerazioni sulla ricostruzione digitale degli affreschi degli ambienti 12, 20, 25, 31 e 46”
    • Notes
  • Chapter 9. Sandra Joshel and Lauren Petersen. “Seeing Slaves at Villa A”
    • Slaves and Villa Life: A View of the Slave Population at a Maritime Villa
    • Seeing slaves: Strategy and Tactic
    • Strategy, Architecture, and Slaves
    • Strategy in Villa A at Oplontis
    • Tactics at Villa A
    • Conclusion
    • Notes
  • Chapter 10. John R. Clarke. “The Study of Fresco Fragments: Methods and Attributions”
    • Group One: The Orphaned Fragments
    • Unattributed Fragments of the Second Style
    • Work with Fragments of the Third Style
    • Work with Fragments of the Fourth Style
    • Fragments of Painted Stucco Lacunar Ceiling
    • White-Ground Ceiling Reconstructed from Nine Fragments
    • Other Attributed Fourth-Style Fragments
    • Group Two: Fragments from the Fondo Fattorusso (“Villa C”)
    • Group Three: Fragments from Documented Excavations
    • Future Directions
    • Notes
  • Chapter 11. Pietro Baraldi. “Indagini su materiali e tecniche della pittura della Villa A di Oplontis”
    • Strumenti e metodi di indagine
    • Dati emersi dalle indagini spettroscopiche in situ
    • Dati emersi dalle indagini spettroscopiche sui frammenti immagazzinati negli ambiente 28-29
    • Risultati delle indagini sui campioni
    • Considerazioni su tavolozze e tecniche applicate
    • Ringraziamenti
    • Notes
  • Chapter 12. Rita Scognamiglio. “Motivi decorativi di II stile: Rankenmutter, thiasoi marini e fregi popolati”
    • Le Rankenmutter
    • I thiasoi marini
    • I fregi popolati
    • Conclusioni
    • Catalogo
    • Notes
  • Chapter 13. Rita Scognamiglio. “Gli stucchi dell’ambiente 20”
    • Condizioni di rinvenimento
    • La decorazione
    • Ipotesi di datazione
    • Notes
  • Chapter 14. Zoe Schofield. “Observations on the Role of Fourth-Style Decorative Bands: The Unseen Relationship between the Second and the Fourth Styles in Villa A”
    • Introduction
    • The Relationship Between the Second and the Fourth Style
    • Terminology
    • Decorative Band Types
    • Decorative Language
    • In Search of the Decorator
    • Workshop
    • Individuality
    • Dating, Architectural Anomalies, Decorating Practices, and Reconstruction
    • Further Study to Investigate the Commercial Sphere of the Oplontine Workshop
    • Locating Incorrect Areas of Modern Reconstruction
    • Survival and Reconstruction
    • Comparanda
    • Conclusion
    • Notes
  • Chapter 15. John R. Clarke and Simon Barker. “Reconstructing the Decorative Program of Diaeta 78”
    • Introduction
    • Decoration in Wood
    • Decoration in Marble
    • Dating Evidence
    • Conclusion
    • Notes
  • Chapter 16. Eric M. Moormann. “Marble Sculpture and Architectural Elements”
    • Ideal and Mythical Figural Statuary
    • Portraits
    • Statue Fragments
    • Bases and Herms
    • Garden Elements
    • Architectural Sculpture
    • Capitals
    • Column Bases
    • Room 35
    • Porticus 40, South Side
    • Garden 56
    • Porticus 60
    • Room 69
    • Room 86
    • Uninventoried Architectural Fragments
    • Terracotta Objects
    • Use and Function of the Oplontis Sculptures
    • Architectural Decoration
    • Notes
  • Chapter 17. Simon Barker, J. Clayton Fant. “Stone Sources and Types: Report on Provenance Analyses for the Sculpture and Architectural Marbles from Oplontis”
    • Introduction
    • Methodology
    • Results
    • Discussion of Architectural Marbles
    • Discussion of Sculptural Marbles
    • Final Remarks
    • Notes
  • Chapter 18. Simon Barker and J. Clayton Fant. “Lithic decoration: Sources, Styles, Repairs and Spoliation”
    • Introduction
    • The Lithic Decoration of the Original Construction
    • Lithic Decoration in the Third-Style Period
    • Lithic Decoration in the Neronian Building Phase
    • Painted Imitation Marble
    • The Fate of the Lithic Decoration at Villa A
    • Conclusion
    • Notes
  • Chapter 19. Rebecca Benefiel. “Scope and Typology of the Graffiti at Oplontis”
    • The Location and Distribution of Graffiti
    • Numerical Graffiti
    • Figural Graffiti
    • The Language of the Graffiti
    • Good Fortune
    • Female and Male Names
    • Conclusions
    • Notes
  • Chapter 20. Rebecca Benefiel. “Catalogue of the Graffiti”
  • Chapter 21. Regina Gee. “Catalogue of the Wall Paintings”
    • Notes
  • Chapter 22. Lea Cline. “Catalogue of the Pavements”
    • Notes
  • Chapter 23. Fiammetta Calosi. “Catalogo delle cornici di stucco”
    • Premessa
    • Notes
  • Chapter 24. Zoe Schofield. “Catalogue of the Carpet Borders”
    • Introduction
    • Decorated Lines and their Motifs
    • Notes
  • Bibliography
Citable Link
Published: 2019
Publisher: American Council of Learned Societies
ISBN(s)
  • 9781628201383 (ebook)
Subject
  • European: Ancient to 400 C.E.

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Fig. 3.40. Room 17, south wall, right part, frieze between median and upper zones, detail. Photo: P. Bardagjy.

Fig. 3.40. Room 17, south wall, right part, frieze between median and upper zones, detail. Photo: P. Bardagjy.

Fig. 3.40. Room 17, south wall, right part, frieze between median and upper zones, detail. Photo: P. Bardagjy.

Fig. 3.41. Room 17, east wall, detail of pilaster at scendiletto position. Photo: P. Bardagjy.

Fig. 3.41. Room 17, east wall, detail of pilaster at scendiletto position. Photo: P. Bardagjy.

Fig. 3.41. Room 17, east wall, detail of pilaster at scendiletto position. Photo: P. Bardagjy.

Fig. 3.42. Room 18, east wall, detail, upper part of median zone. Photo: P. Bardagjy.

Fig. 3.42. Room 18, east wall, detail, upper part of median zone. Photo: P. Bardagjy.

Fig. 3.42. Room 18, east wall, detail, upper part of median zone. Photo: P. Bardagjy.

Fig. 3.43. Room 18, east wall, upper zone, guidelines visible beneath the Third-Style frieze. Drawing: Z. Schofield.

Fig. 3.43. Room 18, east wall, upper zone, guidelines visible beneath the Third-Style frieze. Drawing: Z. Schofield.

Fig. 3.43. Room 18, east wall, upper zone, guidelines visible beneath the Third-Style frieze. Drawing: Z. Schofield.

Fig. 3.44. Room 16, south threshold mosaic. Photo: P. Bardagjy.

Fig. 3.44. Room 16, south threshold mosaic. Photo: P. Bardagjy.

Fig. 3.44. Room 16, south threshold mosaic. Photo: P. Bardagjy.

Fig. 3.45. Room 8, north, east, and south walls, showing Third- and Fourth-Style decorations. Photo: P. Bardagjy.

Fig. 3.45. Room 8, north, east, and south walls, showing Third- and Fourth-Style decorations. Photo: P. Bardagjy.

Fig. 3.45. Room 8, north, east, and south walls, showing Third- and Fourth-Style decorations. Photo: P. Bardagjy.

Fig. 3.46. Garden 92, southeast side of Trench OP3, 2007. Discovery of fragment of Third-Style frieze from room 8. Photo: OP3.06.07.07.05.

Fig. 3.46. Garden 92, southeast side of Trench OP3, 2007. Discovery of fragment of Third-Style frieze from room 8. Photo: OP3.06.07.07.05.

Fig. 3.46. Garden 92, southeast side of Trench OP3, 2007. Discovery of fragment of Third-Style frieze from room 8. Photo: OP3.06.07.07.05.

Fig. 3.47. Room 8, north wall, right part, detail frieze. Photo: P. Bardagjy.

Fig. 3.47. Room 8, north wall, right part, detail frieze. Photo: P. Bardagjy.

Fig. 3.47. Room 8, north wall, right part, detail frieze. Photo: P. Bardagjy.

Fig. 3.48. Room 8, east wall, alcove, east and south walls, detail frieze. Photo: P. Bardagjy.

Fig. 3.48. Room 8, east wall, alcove, east and south walls, detail frieze. Photo: P. Bardagjy.

Fig. 3.48. Room 8, east wall, alcove, east and south walls, detail frieze. Photo: P. Bardagjy.

Fig. 3.49. Room 8, north wall. Photo: P. Bardagjy.

Fig. 3.49. Room 8, north wall. Photo: P. Bardagjy.

Fig. 3.49. Room 8, north wall. Photo: P. Bardagjy.

Fig. 3.50. Boscotrecase, Villa of Agrippa Postumus, Room 16, Naples Archaeological Museum. Photo: German Archaeological Institute Rome, Inst. Neg. 59.1927.

Fig. 3.50. Boscotrecase, Villa of Agrippa Postumus, Room 16, Naples Archaeological Museum. Photo: German Archaeological Institute Rome, Inst. Neg. 59.1927.

Fig. 3.50. Boscotrecase, Villa of Agrippa Postumus, Room 16, Naples Archaeological Museum. Photo: German Archaeological Institute Rome, Inst. Neg. 59.1927.

Fig. 3.51. Room 8, north wall, reconstruction. Reconstruction: P. Baronio.

Fig. 3.51. Room 8, north wall, reconstruction. Reconstruction: P. Baronio.

Fig. 3.51. Room 8, north wall, reconstruction. Reconstruction: P. Baronio.

Fig. 3.52. Room 8, east wall, center, Hercules in a garden. Photo: P. Bardagjy.

Fig. 3.52. Room 8, east wall, center, Hercules in a garden. Photo: P. Bardagjy.

Fig. 3.52. Room 8, east wall, center, Hercules in a garden. Photo: P. Bardagjy.

Fig. 3.53. Rome, House of Livia, Room IV, east wall, center picture. Drawing: German Archaeological Institute Rome, Inst. Neg. 61.293.

Fig. 3.53. Rome, House of Livia, Room IV, east wall, center picture. Drawing: German Archaeological Institute Rome, Inst. Neg. 61.293.

Fig. 3.53. Rome, House of Livia, Room IV, east wall, center picture. Drawing: German Archaeological Institute Rome, Inst. Neg. 61.293.

Fig. 3.54. Room 21, eastern threshold mosaic from porticus 34. Photo: P. Bardagjy.

Fig. 3.54. Room 21, eastern threshold mosaic from porticus 34. Photo: P. Bardagjy.

Fig. 3.54. Room 21, eastern threshold mosaic from porticus 34. Photo: P. Bardagjy.

Fig. 3.55. Room 21, north, mosaic of eastern intercolumniation. Photo: P. Bardagjy.

Fig. 3.55. Room 21, north, mosaic of eastern intercolumniation. Photo: P. Bardagjy.

Fig. 3.55. Room 21, north, mosaic of eastern intercolumniation. Photo: P. Bardagjy.

Fig. 3.56. Room 21, north, mosaic of western intercolumniation. Photo: P. Bardagjy.

Fig. 3.56. Room 21, north, mosaic of western intercolumniation. Photo: P. Bardagjy.

Fig. 3.56. Room 21, north, mosaic of western intercolumniation. Photo: P. Bardagjy.

Fig. 3.57. Room 21, north, mosaic of central intercolumniation. Photo: P. Bardagjy.

Fig. 3.57. Room 21, north, mosaic of central intercolumniation. Photo: P. Bardagjy.

Fig. 3.57. Room 21, north, mosaic of central intercolumniation. Photo: P. Bardagjy.

Fig. 3.58. Room 17, threshold mosaic from porticus 33. Photo: P. Bardagjy.

Fig. 3.58. Room 17, threshold mosaic from porticus 33. Photo: P. Bardagjy.

Fig. 3.58. Room 17, threshold mosaic from porticus 33. Photo: P. Bardagjy.

Fig. 3.59. Room 25, mosaic floor with scendiletto. Photo: P. Bardagjy.

Fig. 3.59. Room 25, mosaic floor with scendiletto. Photo: P. Bardagjy.

Fig. 3.59. Room 25, mosaic floor with scendiletto. Photo: P. Bardagjy.

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