Pompeii: Art Analysis

Within room 5 of the Villa of Mysteries, in Pompeii, Italy, expansive paintings cover the walls. Created by an unknown artist circa 50 BCE, the murals are part of a tradition of domestic fresco wall painting that was prevalent during the Roman Empire. Looking closely at the second wall of this mural, there are life sized half naked human and mythological characters interacting with one another while occupying a monumental platform built of rock and marble, surrounded by vivid red. The wall mural captivates, transporting the viewer to another realm, a place of architectural beauty and intoxicating colors, a place filled with skin and sensual delights.

Bare-chested males, togas barely covering their nakedness, satyrs and humans, some intoxicated,

Golden draperies contrast against dark fabrics and shadows, brownish reds, medium greens, and vivid red walls. Modeling is apparent in the figures, subtle tonal gradations and sharp shadows that provide form in the draperies, form to the legs, bellies, hips, arms, bosoms, wings. Tonal gradations provide a sense of smooth skin, soft fabric and body shapes. The figures are huge, life-sized and their presence fills the room. Some stand, some sit, one women kneels, her garments clinging tightly to every curve as she reaches forward, about to lift a fold of fabric that covers a tall object, while in the center of the painting, another woman holds an intoxicated male in her lap. The male leans far to the right, his diagonal pose emphasizing his role in the painting. His garment has fallen off, revealing most of his naked body. He is lean and fit, with golden highlights shining upon his bare belly, and leaning against his bare, golden leg is a large staff, creating another diagonal

Horizontal bands of dark green marble provide a solid contrast to the band of golden stones that form the center of the huge platform. Above and below are additional horizontal expanses of rock in lighter greens, and rich burgundies. Decorative features provide a sense dimensionality, as if the bands were carved from rock. Rising vertically from the platform are three dark alcoves, surrounded by green marble. Above looms a large frieze with three decorative, horizontal bands. The lowest contains repeating golden geometric patterns, with reddish shadows that provides a sense of carved plaster. Next is a band of colored rectangles, cut and polished stonework, agates and geodes. The topmost band is very dark, highlighted with swirling, colorful floral patterns, and trimmed with gold. And, between decorative frieze and solid stone platform, the walls are red, trimmed with