Fresco of the Third style from Pompeii (V. 1. 26). 1—50 CE.
Inv. No. 110590.
Naples, National Archaeological Museum
Satyr and Maenad (or Ariadne)
from Pompeii, House of L. Caecilius Iocundus (V, 1, 26)
inv. 110590
In the III style we often find panels with characters from the Dionysian entourage inserted like windows in the side panels or upper margins of the walls. In the House of Caecilius Iocundus the small pictures with satyrs and maenads, depicted with a classicising clarity which tones down the erotic content and original violence of the scenes, were inserted at the centre of carpets with curving edges adorning the side panels of the tablinum. For the fantastic exuberance of its ornamentation, anticipating the grotesques of the IV style, the decoration of the house of the famous Pompeian banker stands as one of the richest examples of the III style in its maturity (towards the middle of the first century A.D.).
Stefano De Caro (2001)
A Satyr embracing a Maenad
Fresco of the Third style from Pompeii (V. 1. 26). 1—50 CE.Inv. No. 110590.Naples, National Archaeological Museum
A Satyr embracing a Maenad.
Fresco of the Third style from Pompeii (V. 1. 26). 1—50 CE.
Inv. No. 110590.
Naples, National Archaeological Museum (Napoli, Museo archeologico nazionale).
Pompeii, Archaeological Park, House of L. Caecilius Jucundus (V. 1. 26).
Origin:
Pompeii, V, 1, 26, House of Caecilius Jucundus, tablinum, on west end of north wall.
Description:
Satyr and Maenad (or Ariadne)
from Pompeii, House of L. Caecilius Iocundus (V, 1, 26)
inv. 110590
In the III style we often find panels with characters from the Dionysian entourage inserted like windows in the side panels or upper margins of the walls. In the House of Caecilius Iocundus the small pictures with satyrs and maenads, depicted with a classicising clarity which tones down the erotic content and original violence of the scenes, were inserted at the centre of carpets with curving edges adorning the side panels of the tablinum. For the fantastic exuberance of its ornamentation, anticipating the grotesques of the IV style, the decoration of the house of the famous Pompeian banker stands as one of the richest examples of the III style in its maturity (towards the middle of the first century A.D.).