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

John R. Clarke and Nayla K. Muntasser

Open Access

Contents

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.

Resources

Fig. 1.1. Plan showing painting styles and workshops at Villa A. Drawing: T. Liddell.

Fig. 1.1. Plan showing painting styles and workshops at Villa A. Drawing: T. Liddell.

Fig. 1.1. Plan showing painting styles and workshops at Villa A. Drawing: T. Liddell.

Fig. 1.2. Atrium 5, west wall. Photo: P. Bardagjy.

Fig. 1.2. Atrium 5, west wall. Photo: P. Bardagjy.

Fig. 1.2. Atrium 5, west wall. Photo: P. Bardagjy.

Fig. 1.3. Atrium 5, north wall of southwestern corridor. Photo: P. Bardagjy.

Fig. 1.3. Atrium 5, north wall of southwestern corridor. Photo: P. Bardagjy.

Fig. 1.3. Atrium 5, north wall of southwestern corridor. Photo: P. Bardagjy.

Fig. 1.4. View of cubiculum 11 from 5, screenshot from 3D model. Model: Oplontis Project.

Fig. 1.4. View of cubiculum 11 from 5, screenshot from 3D model. Model: Oplontis Project.

Fig. 1.4. View of cubiculum 11 from 5, screenshot from 3D model. Model: Oplontis Project.

Fig. 1.5. Atrium 5, north wall of southeastern corridor. Photo: P. Bardagjy.

Fig. 1.5. Atrium 5, north wall of southeastern corridor. Photo: P. Bardagjy.

Fig. 1.5. Atrium 5, north wall of southeastern corridor. Photo: P. Bardagjy.

Fig. 1.6. Atrium 5, west wall with digital reconstruction of upper right side. Drawing: T. Liddell.

Fig. 1.6. Atrium 5, west wall with digital reconstruction of upper right side. Drawing: T. Liddell.

Fig. 1.6. Atrium 5, west wall with digital reconstruction of upper right side. Drawing: T. Liddell.

Fig. 1.7. Oecus 15, east wall. Photo: P. Bardagjy.

Fig. 1.7. Oecus 15, east wall. Photo: P. Bardagjy.

Fig. 1.7. Oecus 15, east wall. Photo: P. Bardagjy.

Fig. 1.8. Triclinium 14, east wall, detail of gate pull. Photo: P. Bardagjy.

Fig. 1.8. Triclinium 14, east wall, detail of gate pull. Photo: P. Bardagjy.

Fig. 1.8. Triclinium 14, east wall, detail of gate pull. Photo: P. Bardagjy.

Fig. 1.9. Triclinium 14, west wall, detail of gate pull. Photo: P. Bardagjy.

Fig. 1.9. Triclinium 14, west wall, detail of gate pull. Photo: P. Bardagjy.

Fig. 1.9. Triclinium 14, west wall, detail of gate pull. Photo: P. Bardagjy.

Fig. 1.10. Triclinium 14, west wall, detail of gates with shield, garlands and griffins. Photo: P. Bardagjy.

Fig. 1.10. Triclinium 14, west wall, detail of gates with shield, garlands and griffins. Photo: P. Bardagjy.

Fig. 1.10. Triclinium 14, west wall, detail of gates with shield, garlands and griffins. Photo: P. Bardagjy.

Fig. 1.11. Oecus 15, east wall, detail of peacock on left. Photo: P. Bardagjy.

Fig. 1.11. Oecus 15, east wall, detail of peacock on left. Photo: P. Bardagjy.

Fig. 1.11. Oecus 15, east wall, detail of peacock on left. Photo: P. Bardagjy.

Fig. 1.12. Oecus 15, east wall, detail of peacock on right. Photo: P. Bardagjy.

Fig. 1.12. Oecus 15, east wall, detail of peacock on right. Photo: P. Bardagjy.

Fig. 1.12. Oecus 15, east wall, detail of peacock on right. Photo: P. Bardagjy.

Fig. 1.13. Triclinium 14, west wall, detail of vegetal goddess on architrave. Photo: P. Bardagjy.

Fig. 1.13. Triclinium 14, west wall, detail of vegetal goddess on architrave. Photo: P. Bardagjy.

Fig. 1.13. Triclinium 14, west wall, detail of vegetal goddess on architrave. Photo: P. Bardagjy.

Fig. 1.14. Triclinium 14, east wall, detail of vegetal goddess in pediment. Photo: P. Bardagjy.

Fig. 1.14. Triclinium 14, east wall, detail of vegetal goddess in pediment. Photo: P. Bardagjy.

Fig. 1.14. Triclinium 14, east wall, detail of vegetal goddess in pediment. Photo: P. Bardagjy.

Fig. 1.15. Cubiculum 11, north alcove, detail of vegetal goddess in pediment. Photo: P. Bardagjy.

Fig. 1.15. Cubiculum 11, north alcove, detail of vegetal goddess in pediment. Photo: P. Bardagjy.

Fig. 1.15. Cubiculum 11, north alcove, detail of vegetal goddess in pediment. Photo: P. Bardagjy.

Fig. 1.16. Cubiculum 11, north alcove, detail of figural frieze and vegetal goddess frieze. Photo: P. Bardagjy.

Fig. 1.16. Cubiculum 11, north alcove, detail of figural frieze and vegetal goddess frieze. Photo: P. Bardagjy.

Fig. 1.16. Cubiculum 11, north alcove, detail of figural frieze and vegetal goddess frieze. Photo: P. Bardagjy.

Fig. 1.17. Oecus 15, east wall, detail of figural frieze. Photo: P. Bardagjy.

Fig. 1.17. Oecus 15, east wall, detail of figural frieze. Photo: P. Bardagjy.

Fig. 1.17. Oecus 15, east wall, detail of figural frieze. Photo: P. Bardagjy.

Fig. 1.18. Triclinium 14, north wall, detail of silver casket with figural frieze. Photo: P. Bardagjy.

Fig. 1.18. Triclinium 14, north wall, detail of silver casket with figural frieze. Photo: P. Bardagjy.

Fig. 1.18. Triclinium 14, north wall, detail of silver casket with figural frieze. Photo: P. Bardagjy.

Fig. 1.19. Cubiculum 11, north alcove. Photo: P. Bardagjy.

Fig. 1.19. Cubiculum 11, north alcove. Photo: P. Bardagjy.

Fig. 1.19. Cubiculum 11, north alcove. Photo: P. Bardagjy.

Fig. 1.20. Atrium 5, east wall, detail of alabaster column. Photo: P. Bardagjy.

Fig. 1.20. Atrium 5, east wall, detail of alabaster column. Photo: P. Bardagjy.

Fig. 1.20. Atrium 5, east wall, detail of alabaster column. Photo: P. Bardagjy.