The Role of Frescoes in Ancient Rome:
Technique and Theme Automatic translate

Fresco painting occupied a central place in the art of Ancient Rome, decorating the walls of private homes, villas and public buildings. This artistic technique was a way of decoration that expressed the aesthetic values, social status and cultural preferences of Roman society. Roman frescoes became an important source of information about the daily life, religious beliefs and artistic traditions of this civilization.

History of the development of fresco painting in Ancient Rome

Fresco painting in Ancient Rome originates from Hellenistic and Etruscan traditions, which the Romans not only adopted but also significantly developed. The earliest examples of Roman frescoes date back to the 3rd century BC, although the heyday of this art falls on the period from the 1st century BC to the 1st century AD.

The Romans did not perceive art as something separate from everyday life – they did not even have a special term for art as such. However, they highly valued the skill and craftsmanship of the artisans who created frescoes to decorate their homes and public spaces.

Of particular value for the study of Roman fresco painting are the finds in the cities buried by the eruption of Vesuvius in 79 AD – Pompeii, Herculaneum and the surrounding villas. Thanks to the volcanic ash that preserved these cities, numerous frescoes with preserved bright colors have survived to this day, allowing us to trace the evolution of Roman wall painting over two centuries.

Roman frescoes were created not only for aesthetic pleasure, but also had a practical function – they visually expanded the space of rooms, made interiors lighter and airier. In conditions of limited natural light and the absence of windows in some rooms, frescoes with bright images created the illusion of space and light.

Technical aspects of creating Roman frescoes

Materials and pigments

The creation of Roman frescoes required careful preparation and the use of a variety of materials. The basis for frescoes was plaster, consisting of lime and filler - sand or marble chips. Preparing a wall for a fresco was a multi-stage process, including the application of several layers of plaster.

Pliny the Elder in his Natural History divided pigments into two groups: "florid" (bright) and "subdued". The first group included expensive and rare pigments such as cinnabar (mercuric sulphide), azurite, malachite, indigo and Tyrian purple. These materials were often provided by the client to the artist due to their high cost. The second group included more affordable pigments - ochres of various shades, green earth, chalk and synthetic Egyptian blue.

Egyptian blue, the first artificially created pigment in history, was especially important for Roman painting. This calcium copper silicate was produced by firing a mixture of copper ore, limestone, and quartz sand. The technology for making it came from Egypt, but by the Roman era, production of the pigment had spread throughout the empire.

New research shows that Roman artists used more sophisticated and varied materials than previously thought. Unusual components found in Roman frescoes include barite, alunite, coal and diatomite. This indicates advanced technology and extensive trade links that provided the artists with the materials they needed.

Buon Fresco Method

The main technique of Roman wall painting was buon fresco (Italian: buon fresco – “true fresco”). This method involves applying alkali-resistant pigments, ground with water, to fresh, damp lime plaster. The chemical composition of the plaster makes it unnecessary to use a binder for the pigments.

The process of creating a fresco began with preparing the wall. First, a rough layer of plaster (arriccio) was applied, which was left to dry for several days. Then, a thin layer of finishing plaster (intonaco) was applied to the area that the artist planned to paint in one day. It was on this wet layer that the artist applied pigments.

As the plaster dried, a process of carbonation occurred: calcium hydroxide reacted with carbon dioxide from the air, forming calcium carbonate, which fixed the pigments in a protective crystalline structure. This made the fresco extremely durable, unlike other wall painting techniques.

The main advantage of the buon fresco technique is its durability. The disadvantage is that the work must be done quickly, before the plaster dries, and without mistakes, since corrections are almost impossible. An alternative technique was fresco secco, when pigments were applied to dry plaster using a binder, but such paintings were less durable.

Journals and work organization

Due to the peculiarities of the buon fresco technique, the artist could paint only that section of the wall that was covered with fresh plaster and remained damp. Such a section, which could be painted in one day, was called giornata (Italian: giornata – “day’s work”).

The size of the giornata depended on the complexity of the image. For example, a detailed face might require an entire giornata, while large areas of the background could be completed more quickly. In some surviving frescoes, the boundaries between giornata can be discerned, especially if restoration or time has revealed differences in the shades of pigments between different areas.

Before applying paint, the artist would make a preparatory drawing. For this, full-size cardboard (preliminary drawings) were often used, from which the contours were transferred to fresh plaster. The contours could be scratched into the plaster or drawn with a charcoal pencil.

At the end of the working day, the excess unused plaster was scraped off the wall so that a fresh layer could be applied the following day for a new giornata. This process required careful planning and organization of the work so that the border between adjacent giornata was barely noticeable, especially at the junctions of important elements of the image.

Four Styles of Pompeian Painting

Thanks to the surviving frescoes from Pompeii and other cities buried by the eruption of Vesuvius, researchers have been able to trace the evolution of Roman wall painting. In 1882, German archaeologist August Mau identified four main styles of Pompeian painting, which reflect the development of this art from the end of the 2nd century BC to 79 AD. This classification, supplemented and refined by subsequent researchers, is still used in art criticism.

First style: inlay

The first style, also called inlay or structural, was common from about 200 to 80 BC. This style is characterized by imitation marble cladding on plastered walls using relief moldings and bright colors.

Walls painted in the first style were usually divided into three horizontal zones. The lower zone imitated a base of colored marble, the middle zone was a series of rectangular panels that created the illusion of marble slabs of different colors and textures, and the upper zone was often designed as a frieze. Sometimes architectural elements such as pilasters were included in the design.

The first style reflects the influence of Hellenistic culture on Roman art. This type of wall decoration was common in Greek cities of the Hellenistic period, from where this fashion passed to Rome. The use of stucco and bright colors created the effect of luxurious marble decoration, which only the very rich could afford, making such paintings a symbol of prestige and wealth.

Examples of the first style can be seen in the Samnite House at Herculaneum and the House of the Faun at Pompeii. Although this style was eventually superseded by more complex and pictorial styles, elements of the inlay style continued to be used in Roman wall painting in later periods, especially in the lower areas of the wall.

Second style: architectural

The second style, known as architectural, was popular from about 80 to 15 BC. In this style, artists abandoned relief stucco in favor of illusionistic painting, creating the illusion of three-dimensional space with architectural elements on a flat wall surface.

In the lower zone of the wall, marble cladding could still be imitated, but without relief, using purely pictorial means. The middle and upper zones were transformed into complex architectural compositions with columns, pilasters, cornices, creating the illusion of space beyond the real wall. Through these architectural elements, views of imaginary landscapes, cities, sanctuaries or theatrical scenes opened up.

The second style is characterized by realistic depictions, the use of perspective, bright colors, and the play of light and shadow. Artists sought to expand the space of a room, creating the illusion of an exit to larger rooms or to the open air. In some cases, the walls seemed to disappear completely, turning into windows into other worlds.

In the paintings of the second style, figurative images also appear - mythological scenes, still lifes, masks. They could be located in the center of architectural compositions, like paintings in frames, or be part of an imaginary landscape.

The most famous examples of the second style are the frescoes of the Villa of the Mysteries in Pompeii, the Villa Boscoreale and the Villa Farnesina in Rome. Interestingly, the architect Vitruvius criticized some elements of this style as unrealistic, stating that “these things do not exist now, cannot exist, and never have existed.”

Third style: ornamental

The third style, called ornamental, was widespread from about 15 BC to 50 AD. This style abandoned the illusionistic architecture and spatial depth of the second style in favor of flatter, more decorative compositions.

The walls in the third style were usually divided into vertical panels, separated by thin columns or candelabra. The central panels often contained small landscapes or mythological scenes, framed by ornamental motifs. These miniature paintings looked like real easel works hanging on the wall.

The color scheme of the third style became more refined and subdued. Monochrome backgrounds were often used - black, red, white, on which graceful ornamental motifs and small figurative scenes stood out. Characteristic elements of ornamentation were stylized plant patterns, garlands, candelabra, fantastic creatures.

The third style shows a desire for refinement and elegance rather than spatial effects. Artists paid great attention to detail and technical perfection of execution. This style corresponded to the aesthetic preferences of the Augustan era, with its gravitation towards classicism and restrained luxury.

Examples of the third style can be seen in the House of Lucretius Fronto and the House of Marcus Lucretius in Pompeii, as well as in the imperial palaces on the Palatine Hill in Rome.

Fourth style: complex

The fourth style, which Mau called complex or refined, became popular in the mid-1st century CE and prevailed in Pompeii until the eruption of Vesuvius in 79 CE. This style combines elements of all the previous styles, creating eclectic and rich compositions.

The fourth style revives the illusionistic architecture of the second style, but in a more fantastic and decorative version. Architectural elements become light, graceful, sometimes unrealistically thin. They serve as a frame for various images - mythological scenes, landscapes, still lifes, genre sketches.

A characteristic feature of the fourth style is the richness and diversity of decorative motifs. Walls were often divided into many panels of different sizes, filled with ornaments, miniature landscapes, architectural fantasies. The central panels could contain large mythological compositions, executed with great skill.

The color scheme of the fourth style again becomes bright and contrasting. Red, black, yellow backgrounds were popular, on which multi-colored figurative scenes and white decorative elements stood out. Artists of the fourth style demonstrated virtuoso mastery of technique, creating complex multi-figure compositions and detailed ornaments.

The fourth style reflects the tastes of the Neronian and early Flavian eras, with their love of pomp and theatricality. This style can be seen in Nero’s Domus Aurea in Rome, as well as in many of the Pompeian houses restored after the earthquake of 62 AD, such as the House of the Vettii.

Themes of Roman frescoes

Roman frescoes are striking in their diversity of subjects and themes. From mythological scenes to everyday sketches, from architectural fantasies to still lifes, the thematic repertoire of Roman wall painting reflects the interests, values ​​and aesthetic preferences of Roman society.

Mythological stories

Mythological scenes were one of the most popular themes in Roman fresco painting. They decorated the walls of tricliniums (dining rooms), cubicles (bedrooms) and other rooms of private houses and villas. Roman artists drew their subjects mainly from Greek mythology, which testifies to the deep influence of Hellenistic culture on Roman art.

Common mythological subjects include stories about gods and heroes: the love affairs of Zeus (Jupiter), the exploits of Heracles (Hercules), the stories of Perseus and Andromeda, Theseus and Ariadne, Dionysus (Bacchus) and Ariadne. Scenes from the Trojan cycle and stories about the love of gods for mortals were also popular.

Mythological frescoes served not only decorative purposes, but also demonstrated the education and cultural level of the owner of the house. They could have a symbolic meaning, hinting at certain virtues or qualities for which the owner of the house wanted to be famous. For example, scenes with Hercules could symbolize strength and valor, and stories about Dionysus - hospitality and generosity.

The quality of the mythological scenes varied from highly artistic creations by masters to simpler works. The most skillful frescoes were probably copies of famous Greek paintings that themselves have not survived. Thus, Roman copies became our only source of knowledge about many lost masterpieces of Greek painting.

Architectural motifs and landscapes

Architectural motifs were an integral element of Roman wall painting, especially in the second and fourth styles. Columns, pilasters, porticoes, cornices, balustrades created the illusion of expanded space and served as a frame for other images.

A special category was made up of the so-called sacred-idyllic landscapes, depicting sanctuaries, temples, altars surrounded by trees and rocks. These images combined elements of the real and the imaginary, creating an idealized picture of the countryside with religious accents.

Urban landscapes were less common, but they were also present in the repertoire of Roman artists. They could depict views of cities, ports, villas with characteristic architectural elements. Pliny the Elder mentions the artist Studium (or Ludius), who was the first to decorate walls with images of villas, porticoes, garden landscapes, groves, hills, pools, canals, rivers and sea coasts.

Seascapes were another popular theme, especially in coastal areas such as Campania. They could depict harbours with ships, fishing boats, sea creatures or mythological scenes related to the sea, such as the stories of Poseidon (Neptune) and the Nereids.

Landscapes in Roman frescoes were not naturalistic in the modern sense. They combined real elements with fantastic ones, creating an idealized image of nature. Often, such landscapes served as a background for mythological or genre scenes, complementing and enriching the main plot.

Still life and everyday life

Still lifes were a common motif in Roman fresco painting. They could depict fruits, vegetables, flowers, game, fish, seafood, and kitchen utensils. Such images were often placed in dining rooms and kitchens, symbolizing the abundance and hospitality of the home.

Recent archaeological discoveries in Pompeii have revealed impressive still lifes in the colonnaded hall of one of the houses. Birds, game, baskets of seafood and shellfish are depicted against a bright red background, indicating the developed culinary culture and artistic taste of the ancient Pompeians.

Everyday life scenes were also reflected in Roman frescoes. They could depict various crafts and professions, trade scenes, entertainment, rituals and ceremonies. Such images are especially valuable for historians, as they provide visual information about the life and customs of the ancient Romans.

Scenes related to banquets and symposia were also popular. They depicted banqueters, musicians, dancers, servants serving food and wine. Such frescoes not only decorated tricliniums, but also created an atmosphere of joy and luxury, complementing the real banquet taking place in the room.

A separate category was made up of erotic scenes, which could be placed in bedrooms or other private spaces. Contrary to popular belief, such images were not always overtly sexual in nature; many of them were associated with the cult of Dionysus or other religious ideas.

The Role of Frescoes in Roman Society

Frescoes in ancient Rome served many functions, from purely decorative to social status and symbolic. They were not just wall decorations, but an important element of Roman culture, reflecting its values, ideas of beauty and social norms.

Social and cultural significance

In Roman society, the home was not only a private space, but also a place of social life. Wealthy Romans regularly received guests – clients, business partners, friends. Home decor, including frescoes, was a way to impress visitors, to demonstrate the status, wealth, education and taste of the owner.

The choice of subjects for frescoes often reflected the intellectual interests and cultural preferences of the home owner. Mythological scenes demonstrated familiarity with Greek culture, considered the standard of sophistication. Scenes from literary works testified to education. Images of philosophers or muses indicated the intellectual ambitions of the owner.

In public buildings, frescoes could have a propaganda value. For example, in buildings associated with the imperial cult, scenes glorifying the emperor and his deeds could be placed. In temples, frescoes illustrated myths associated with the revered deity and scenes from religious rituals.

Frescoes also served an educational function. For many Romans, especially children, depictions of mythological scenes were a way to learn about the cultural heritage, religious beliefs, and moral values ​​of society. Visual images complemented and illustrated what could be learned from literature and oral histories.

Symbolism and status

Frescoes were an important indicator of social status in Roman society. Only wealthy people could afford to hire skilled artists and buy expensive pigments to decorate their homes. Bright and rare colors such as purple, lapis lazuli or cinnabar were especially prized and were very expensive.

The placement of frescoes in the house was also related to the social functions of various rooms. The most impressive and expensive paintings were located in the public areas of the house - the atrium, peristyle, triclinium, where visitors could see them. More intimate and personal images were placed in private rooms - bedrooms, small living rooms.

The symbolic language of the frescoes was understandable to educated Romans. Certain images and scenes had established associations. For example, images of Venus could symbolize love and beauty, but also fertility if the goddess was presented in the context of gardens or agricultural scenes. Dionysian motifs symbolized not only wine and joy, but also mystical renewal, rebirth.

Some researchers note that frescoes may have had an apotropaic function – to protect against evil and attract good luck. This may explain the popularity of images of certain deities and symbols, such as phallic amulets, Medusa or theatrical masks.

In general, frescoes in a Roman house created a special visual environment that corresponded to the status and ambitions of the owner, reflected his values ​​and tastes, and also performed the practical functions of organizing and zoning the space.

Conservation and study of Roman frescoes

The history of the conservation and study of Roman frescoes is a history of archaeological discoveries, scientific research and the development of conservation methods. Thanks to excavations in Pompeii, Herculaneum and other Roman settlements, as well as modern analytical technologies, we now have the opportunity to see and understand this unique artistic heritage.

Pompeii and Herculaneum

The eruption of Vesuvius on August 24, 79 AD was a catastrophe for the inhabitants of Pompeii, Herculaneum and the surrounding villas, but paradoxically ensured the preservation of numerous frescoes for future generations. Layers of volcanic ash and pumice protected the paintings from the effects of atmospheric factors and prevented their destruction.

The first systematic excavations of Pompeii began in the mid-18th century, under the King of Naples Charles III. They aroused great interest in Europe and significantly influenced the development of neoclassicism in art. The discovery of perfectly preserved frescoes with bright colors became a sensation for people accustomed to seeing antiquity in monochrome marble statues.

Herculaneum had different preservation conditions than Pompeii. The city was buried under a thicker layer of pyroclastic flows, which hardened into durable rock. This made excavation more difficult, but it better preserved organic materials, including wooden building elements and furniture. Frescoes in Herculaneum were often even better preserved than those in Pompeii.

Many of the frescoes from Pompeii and Herculaneum were removed from the walls and moved to the Naples Archaeological Museum, where they are still kept. However, most of the paintings were left in situ, which creates problems for their conservation, as they are exposed to sun, rain and temperature fluctuations.

In recent decades, archaeologists and restorers have been using new methods to preserve and restore frescoes. These include the use of modern preservatives, the creation of protective coatings and microclimates, as well as digital recording and reconstruction to document and study the paintings.

Modern research and analysis

Modern scientific methods allow us to better understand the technology of creating Roman frescoes and their original appearance. Spectroscopic and chromatographic methods help to identify the pigments and binders used by ancient artists.

Raman spectroscopy has proven particularly useful for the analysis of Roman blue and green pigments such as Egyptian blue, azurite, and malachite. This non-destructive technique allows the chemical composition of pigments to be accurately determined without the need for large samples of the material.

The analysis of organic binders in Roman frescoes is more complex. Different research groups obtain different results when analyzing the same materials, indicating possible methodological problems. Difficulties arise from the extraction of ancient binders from hardened plaster and potential biological contamination of samples.

Whether most Roman wall paintings were indeed executed in the buon fresco technique, as previously thought, or whether the artists used mixed techniques with the addition of organic binders remains a subject of scholarly debate. New evidence suggests that Roman artists may have used mixed techniques more often than previously thought.

Digital technology has also changed the way Roman frescoes are studied. High-precision photography, 3D scanning and virtual reconstruction make it possible to create detailed models of painted rooms that can be studied without exposing the originals to the risk of damage. These techniques also make it possible to restore the original appearance of frescoes by virtually removing damage and contamination.

Interdisciplinary research, bringing together archaeologists, art historians, chemists and conservationists, provides the most comprehensive picture of Roman fresco painting. It helps not only to better understand the technology and aesthetics of ancient Roman art, but also to develop effective methods for preserving this cultural heritage for future generations.

Fresco painting in Ancient Rome is a unique phenomenon in the history of world art. Combining Greek artistic traditions with their own innovations, the Romans created a rich and diverse visual culture that influenced subsequent artistic eras, from the Renaissance to the present day.

The buon fresco technique, perfected by Roman masters, allowed for the creation of long-lasting and vivid images, many of which have retained their beauty to this day. The four styles of Pompeian painting identified by August Mau demonstrate the evolution of artistic tastes and technical capabilities over two centuries.

The themes of Roman frescoes reflect the rich spiritual world of the ancient Romans, their religious ideas, literary and mythological knowledge, and aesthetic preferences. From majestic mythological scenes to elegant still lifes, from architectural fantasies to genre sketches, frescoes reveal to us the world in which people lived two thousand years ago.

The social and cultural role of frescoes in Roman society was significant. They not only decorated homes and public buildings, but also demonstrated the owner’s status, reflected his intellectual interests, created a certain atmosphere in the premises, visually expanded the space and added light and color to the interiors.

Thanks to the unique circumstances of the preservation of the frescoes in Pompeii, Herculaneum and other Roman cities, as well as modern research and conservation methods, we have the opportunity to study this remarkable artistic heritage. Each new discovery and study adds new details to our understanding of Roman fresco painting and culture in general.