| Image search results - "fresco" |
An Introduction to Roman Painted Fresco DecorationFresco decoration consists of paint that was placed on still-wet plaster.
It was usually placed on walls, but occasionally on the ceiling or even, more rarely the floor.
This sample is one of three similar ones, shown together in another photo in this gallery,
it consists mostly of red (which was the most common wall panel colour) with a grey-brown
design that may be some sort of vertical border.
According to Behling, pure red accounted for 31-51% of fresco fragments found at Carnuntum. Dark red, red/brown, rose, violet/red accounted for another 25-30%. Red was the most frequent color in multi-color fragments. By contrast blue, yellow and green were much rare at roughly 1% each.
9 x 9 cm.
References:
Carnuntum Jahrbuch 2008, Zivilstadt Carnuntum - Fundbericht Haus II, part VI Wandmalerei (by Claudia-Maria Behling).
- fresco colours were described using the Munsell Soil Color Charts, New Windsor, 2000.
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Fresco fragment from PompeiiPlease click the pic for full size version the information card will then be readable.Philoromaos
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Italy, Herculaneum, College of the AugustalesThe side walls of the sacellum in the College of the Augustales are painted with doors either side of a central porch which opens onto architectural elements on a white ground. Above the doors and porch are further windows containing bronze chariots driven by winged victories, placed on pedestals. The central fresco on the left wall is of Hercules standing next to Juno and Minerva
From my visit to Herculaneum in August 2015 maridvnvm
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Italy, Herculaneum, College of the AugustalesThe side walls of the sacellum in the College of the Augustales are painted with doors either side of a central porch which opens onto architectural elements on a white ground. Above the doors and porch are further windows containing bronze chariots driven by winged victories, placed on pedestals. The fresco in the middle of the right wall shows Hercules fighting Achelous who kidnapped Deianira.
From my visit to Herculaneum in August 2015 maridvnvm
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Italy, Pompeii - FrescoFresco from the Porto Marina sector.
From my visit to Pompeii in August 2015 maridvnvm
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Italy, Rome, The Painted Garden of LiviaThe painted garden of Livia Augusta was located at her country residence in Prima Porta, 15km north along the Via Flaminia. It was decorating the walls of a windowless underground room which was probably used as a summer room.
The painted garden runs along the four walls depicting plants and trees in different periods of time with overlapping flowering and mature fruits. Plant species depicted include: umbrella pine, oak, red fir, quince, pomegranate, myrtle, oleander, date palm, strawberry, laurel, viburnum, holm oak, boxwood, cypress, ivy, acanthus, rose, poppy, chrysanthemum, chamomile, fern, violet, and iris. Birds are present almost everywhere.
In 1950 the frescoes were detached from the villa and transferred to the Museo Nazionale Romano di Palazzo Massimo, close to Stazione Termini, and located at the third floor.
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Italy- Pompeii- BrothelSome of the most fascinating clues about the lives of the ancient peoples who made their lives in Pompeii can be found in the numerous brothels in the city. It is an indication of the prosperity of the city -- people had money to burn. Here is one example of the Pompeian "houses of ill repute". I chose this one because of its unusual architecture and fine frescoes.
Ancient Pompeii was full of erotic or pornographic frescoes, symbols, inscriptions, and even household items. The ancient Roman culture of the time was much more sexually permissive than most present-day cultures.
When the serious excavation of Pompeii began in the 18th century, a clash of the cultures was the result. A fresco on a wall that showed the ancient god of sex and fertility, Priapus with his extremely enlarged penis, was covered with plaster and only rediscovered because of rainfall in 1998.[1] In 1819, when king Francis I of Naples visited the exhibition at the National Museum with his wife and daughter, he was so embarrassed by the erotic artwork that he decided to have it locked away in a secret cabinet, accessible only to "people of mature age and respected morals." Re-opened, closed, re-opened again and then closed again for nearly 100 years, it was made briefly accessible again at the end of the 1960s (the time of the sexual revolution) and has finally been re-opened in the year 2000. Minors are not allowed entry to the once secret cabinet without a guardian or a written permission.As previously mentioned, some of the paintings and frescoes became immediately famous because they represented erotic, sometimes explicit, sexual scenes. One of the most curious buildings recovered was in fact a Lupanare (brothel), which had many erotic paintings and graffiti indicating the services available -- patrons only had to point to what they wanted. The Lupanare had 10 rooms (cubicula, 5 per floor), a balcony, and a latrina. It was one of the larger houses, perhaps the largest, but not the only brothel. The town seems to have been oriented to a warm consideration of sensual matters: on a wall of the Basilica (sort of a civil tribunal, thus frequented by many Roman tourists and travelers), an immortal inscription tells the foreigner, If anyone is looking for some tender love in this town, keep in mind that here all the girls are very friendly (loose translation).
The function of these pictures is not yet clear: some authors say that they indicate that the services of prostitutes were available on the upper floor of the house and could perhaps be a sort of advertising, while others prefer the hypothesis that their only purpose was to decorate the walls with joyful scenes (as these were in Roman culture). The Termae were, however, used in common by males and females, although baths in other areas (even within Pompeii) were often segregated by sex.
Peter Wissing
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Jesus Christ, PantocratorThe iconic image of Christ Pantocrator (Christ, Ruler of All) was one of the first images of Christ developed in the Early Christian Church and remains a central icon of the Eastern Orthodox Church. In the half-length image, Christ holds the New Testament in his left hand and blesses with his right.
The oldest known surviving example of the icon of Christ Pantocrator was painted in encaustic on panel in the sixth or seventh century, and survived the period of destruction of images during the Iconoclastic Disputes that racked the Eastern church, 726 A.D. to 815 A.D. and 813 A.D. to 843A.D., by being preserved in the remote desert of the Sinai, in Saint Catherine's Monastery. The gessoed panel, finely painted using a wax medium on a wooden panel, had been coarsely overpainted around the face and hands at some time around the thirteenth century. It was only when the overpainting was cleaned in 1962 that the ancient image was revealed to be a very high quality icon, probably produced in Constantinople (http://en.wikipedia.org/wiki/Christ_Pantocrator).
The Christ Pantocrator Icon at St. Catherine's Monastery in the Sinai
In 544 AD, a cloth bearing an image of Jesus was discovered hidden above a gate in Edessa's city walls. Six years later, an icon was produced at St. Catherine's Monastery in the Sinai.
(See: http://www.shroudofturin4journalists.com/history.htm)
There are startling similarities between the icon and the image we see on the Shroud of Turin. There are, perhaps, too many similarities for it to be a mere coincidence.
The general placement of facial features including eyes, nose and mouth. In fact, when a transparency of the Shroud face is superimposed over the icon, there are no significant variations.
The hair on the left side (your right) falls on the shoulder and swoops outward. The hair on the other side is shorter.
The eyes are very large.
The nose is particularly thin and long. The face is gaunt.
There is a gap in the beard below a concentration of facial hair that is just below the lower lip.
The neck is particularly long.
It is particularly interesting to note that starting about this time a dramatic change took place in the way Jesus was portrayed on coins, icons, frescoes and mosaics. Before this time, Jesus was usually portrayed in storybook settings such as a young shepherd or modeled after the Greek Apollo.
After the discovery of the Edessa Cloth, images of Jesus were suddenly full-frontal facial images.
The story of the Shroud of Turin is fascinating. It began, for me, ironically when I thought the "story" had finally been laid to rest. Carbon 14 dating conducted in 1988 had just proved that the Shroud was medieval. Along with most, I accepted these results--the fact that two of my former Alma Maters (The University of Arizona and Oxford University) were involved in the testing lent a comfortable sense of closure (to give them their due, scientists from the Institut für Mittelenergiephysik in Zurich, Columbia University, and the British Museum were also involved in the tests). I was re-engaged by the Shroud story in 2005 when an article in the scholarly, peer-reviewed scientific journal Thermochimica Acta by an equally eminent scientist, Raymond N. Rogers, of the Los Alamos National Laboratory, subverted the 1988 tests. Very briefly, the sample cut from the Shroud in 1988 was shown not to be valid. In fact, the article noted, the Shroud was much older than the carbon 14 tests suggested. Curiouser and curiouser. . . and I'll leave the story at this juncture. If you are interested, see the following site:
http://www.shroudofturin4journalists.com/pantocrator.htm
Edited by J. P. Fitzgerald, Jr.Cleisthenes
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Painted Fresco - BlackFresco fragment of black with narrow stripes at the top - grey/yellow/burgundy/grey.
5 x 5 cm.
Similar black color fragments at Carnuntum were dated by Behling to the 2nd to 3rd century AD, fig. 12.
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Painted Fresco - Dark Red with "foot"Fresco painted burgundy or violet-red with a cream line.
The line looks like a horse's hoof but may indeed be anything.
These dark colors are generally dated at Carnuntum by Behling to the 2nd-3rd century AD.
5 x 5 cm.
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Painted Fresco - Green & WhiteFresco painting, bright green with white (which may be the bare plaster base.)
A similar pairing of colors at Carnuntum was part of a swimming fish design, Behling, fig. 12, and was dated to the 2nd century AD.
6 x 6.5 cm.SC
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Painted Fresco - GreyThree fresco fragments painted grey.
12 x 9 cm total.
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Painted Fresco - Pink, Dark Red & YellowFresco with pink, dark red, burgundy (violet-red) and yellow paint.
5 x 5.5 cm.
These dark colors are likely 2nd-3rd century AD.
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Painted Fresco - Red & YellowEight pieces of fresco painted red that merges, via an ochre stripe, into yellow.
Typical wall decoration.
Dated at Carnuntum by Behling to circa mid-3rd to early 4th century AD, fig. 15.
Total 13 x 22 cm.
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Painted Fresco - Red with Grey/BrownThree pieces of painted fresco, red with
a grey and brown banded border,
and bright yellow scrollwork on the right side of the upper piece.
Similar pieces of red with grey-brown border were found at Carnuntum,
and dated by Behling to mid-3rd to early 4th century AD, fig. 13 + 14.
Total 12.5 x 27 cm.
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Painted Fresco - White with stripesPainted fresco, cream colour, perhaps the natural plaster,
with two burgundy or dark red stripes (7mm and 6 mm thick).
Similar decoration was found at Carnuntum,
and dated by Behling to the late 3rd to mid-4th century AD, fig. 25.
9.5 x 14.5 cm.
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Painted Fresco - with Blue "trumpet"Painted fresco. White background with a trumpet shape that is mainly blue,
but dark green on the left side, and appears to be painted over a yellow base.
There are three green leaf designs above.
It is unclear if the design is meant to be a vase, a cornucopia, or entirely vegetal.
Such decoration likely dates to the 2nd - 3rd century AD.
7.5 x 9 cm.
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Painted Fresco - with two RedsPainted fresco, dark red/burgundy and "orange', which consists of a thin wash
of the dark red over yellow.
The design perhaps represents drapery or cloth?
4.5 x 3.5 cm.
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Pompeii Wall painting Another wall painting in PompeiiJay GT4
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RPC 2542 DomitianÆ Obol, 3.80g
Alexandria mint, 87-88 AD
Obv: ΑΥΤ ΚΑΙΣΑΡ ΔΟΜΙΤΙΑΝΟΣ ΣΕΒ ΓΕΡΜ, LΖ; Head of Domitian, laureate, r.
Rev: griffin seated, r., with wheel
RPC 2542 (9 spec.).
Acquired from eBay, August 2020. Formerly in NGC holder #4285432-009, grade 'VF'.
This Alexandrian obol struck for Domitian during his seventh regnal year (87-88) features a female griffin resting its right paw on a wheel. The legendary creature with the body of a lion and head and wings of an eagle was believed by many ancients to be a real flesh and blood animal. It was thought to have lived near the gold deposits of Central Asia, perhaps as a guardian. On this obol the griffin is to be associated with the goddess Nemesis (the deliverer of justice and punishment) because of the presence here of her wheel of fortune, symbolic of the constant turning of mankind's fate. The depictions of a griffin with Nemesis's wheel began during the late first century with the earliest representations being a fresco in Pompeii's House of the Fabii and the issue of small Alexandrian bronzes from which this coin was struck. This Nemesis griffin type is related to Domitian as the maintainer of law and order.
Good style and well centred.David Atherton
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Turkey, Ephesus - Wall frescoLocated in the ongoing excavation of the upper-class terrace houses. Note the opening in the wall for circulation. The entire complex must have appeared like a luxury hotel with a central arbitorium.
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