File:Pompeii, its life and art (1902) (14741904316).jpg

Identifier: pompeiiitslifear00maua (find matches)
Title: Pompeii, its life and art
Year: 1902 (1900s)
Authors: Mau, August, 1840-1909 Kelsey, Francis W. (Francis Willey), 1858-1927
Subjects:
Publisher: New York : Macmillan
Contributing Library: Getty Research Institute
Digitizing Sponsor: Sloan Foundation

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mecrime the young man who, with a wreath on his head and asword, pointed downward, in his right hand, bends over thehind just slain as a sacrifice. The colors are subdued and effec-tive ; the painting from the technical point of view is amongthe best found at Pompeii. Around the painting are narrow black stripes separated bywhite lines; in the broader stripe underneath, between thecolumns, are two light blue birds upon a dull red ground. Thesmall squares in the flat cornice above are of many colors,shades of green, pink, and brown predominating. The broadpanels on either side of the painting are of the color oftencalled Pompeian red; they have an ornamented border, and asmall winged figure in the centre. The stripe below theseshows vases and other ornaments on an orange-yellow ground ;that above, interrupted by the cornice over the painting, is black,with various ornaments, as baskets of fruit, sistrums, and geese,painted in neutral colors. Among the ornaments of the upper 466 POMPEII
Text Appearing After Image:
Fig. 263.— Specimen of wall decoration. Third or Ornate Style.From the house of Spiuius Mesor. part of the wall, festoons of leaves, vines, vases, parrots, andgriffins can be distinguished, painted in light shades of brown,blue, green, and yellow. The effect of the Ornate Style, with its symmetrical formsand variety of detail, is pleasing; but the free use of neutral WALL DECORATION 467 tones gives the walls a somewhat cold and formal appearancewhen we bring into contrast the warm coloring of the nextperiod. The fourth or Intricate Style first appears about the middle -4.of the first century a.d. It started, as did the third, with thesymmetrical division of the wall developed in the second style;it differs from the third in that it always retained a sense ofarchitectural form. The columns are often fluted, as in a speci-men in the Naples Museum (Fig. 264). The entablatures andcoffered ceilings, light and airy as they often seem, have never-theless a suggestion of reality ; we know t

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