by Jurate Macnoriute ...
Unfortunate activation of volcano Vesuvius burying citizens of Pompeii was not completely negative phenomenon, because it preserved Pompeian wall painting from destructive time, and we can estimate Roman art now.
Thus Romans continued Grecian tradition of depiction of beautiful human figures acting in mythological and historic scenes. Comparing with Greek vase painting we may state that Roman figures seem more thoughtful, slow, serious, finished. Faces keep these same qualities as Grecian: large eyes, straight nose, narrow mouth, and large enough jaw (Fig.88).
Fig. 88. Hercules And Deianira. Pompeian wall painting.
Roman stand poses more static than Grecian. They contain sublimity, grace, and beauty (Fig.89). In this same example we met self touch tactile signs.
Fig. 89. Pompeian wall painting.
Facial expression jaw droop -- a sudden and frequently sustained opening of the mouth visible in parted lips and dangling jaw, given in excitement, surprise or uncertainty. Though it is comedy scene (Fig.90), but we can not state that it looks fun. In that same example self touch tactile sign -- woman holds her hand to face. Roman personages seriousness and heroism let not them laugh, smile, cry, tongue show, or do some other flighty actions.
Fig. 90. Scene of a comedy of Plauto. Herculano. National Archaeological museum. Naples. Italy.
Gesture (or posture) hand behind head is seen in fancied by Romans sit posture holding elbow onto high back of chair (Fig.91-2) and in that concrete case it can signify a calm lengthy intent consideration. Display arm show is frequent and it has such functions as determination of own fate or course of action without compulsion (Fig.91-1), interest (Fig.91-2). These postures contains also self touch tactile sign -- holding touching with hand face, hand lies on knees (Fig.91-1). Head back in Fig.91-1 can be understood as bow posture though for Roman art bow is not characteristic.
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Fig. 91. 1 Detail of The queen Phila talks with its son dressed with Macedonian military uniform, in the presence of the filólosofo Menedemos. Villa of Boscoreale; 2. Detail of Menandro, author of comedies. National Archaeological museum. Naples. Italy.
Asymmetrical tonic neck reflex is found approximately in Roman dancer's movement.
Fig. 92. Dances in honor of Baco. Fresco. Pompeii. Villa of the Mysteries.
Posture body bend receives graceful manner and expression of sadness (Fig.93). The example contains also tactile sign self touch.
Fig. 93. Detail of Fresco Venus and Mars. Pompeii.
Roman sit posture on the low chair comfortable, elaborate, graceful (Fig.94). One hand on chair's back, other shows self touch tactile sign.
Fig. 94. Statue of woman. Uffizi Museum.
Venus removing a sandal keeps her balance (Fig.95). Small Cupid beneath hold her foot. This is a beautiful poetic example of Roman balance cue.
Fig. 95. Venus. Pompeii.
Swagger walk characteristic for heroes -- larger body sizes, straight stand, free and easy motions of arms and legs, stick on shoulder, red cloak. Hero Theseus in Fig. 96-2 distinguishes also by the state of being without clothing.
Romans manifested the effects of submission status through bent head (Fig.96-1), humble kiss or standing in a quiet crowd (Fig.96-2).
On the right in Fig. 96-2 child holds his hands on breast, it is self touch tactile sign.
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Fig. 96. 1. Detail of Pan and Nymphs. Pompeii; 2. Detail of Theseus. Pompeii.
Touch cue's examples in love scene (Mars unclothing Venus) (Fig.97-1) and mother's with child (Fig.97-2).
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Fig. 97. 1. Venus And Mars. House of Mars And Venus, Pompeii; 2. Detail of fresco Woman and Reading Child. Villa of Mysteries, Pompeii.
Chronemic cue waiting can be recognized in Fig. 98. Woman holds some pointed tool for writing or drawing or engraving. According to contemporary psychology that signifies waiting, extending time in conversation.
Fig. 98. Young Woman with a Stylus. Fresco from Pompeii.
Body movement decision grip performed by two slaves preparing meal (Fig.99).
Fig. 99. Detail of Kitchen Slaves. Getty Museum. 50-75.
That case of body movement power grip is interesting by grip's object -- woman (Fig.100).
Fig. 100. Faun and Bacchant. Roman Wall Painting from the House of the Dioscuri, Pompeii.
The examples of original Roman precision grip by curing injuries (Fig.101-1) and carrying a plate with meal (Fig.101-2).
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Fig. 101. 1. Lapis curing injuries of Aeneas. Pompeian fresco; 2. Detail of Celebration, the banquet. Fresco. Pompeii. Villa of the Mysteries.
The example of Roman love scenes has sublime character, lovers as if fly in space being side by side (Fig.102). Severe Roman personages are full of hard thoughts, and only in love scenes we can notice some afferent signal pleasure.
Fig. 102. Faun and Bacchant. Roman Wall Painting from the House of the Dioscuri, Pompeii.
Roman sadness expressed by the stand with elbow and leg resting onto props, closing face with hand and long head wear with falling fabric (Fig.103).
Fig. 103. The Sacrifice of Iphigenia. Roman wall painting from Pompeii. Archaeological Museum. Naples. Italy.
In heroic Roman art pain cue is not characteristic.
Uncertainty, critical estimation characteristic for Roman art in great degree -- the posture in Fig. 104-1 containing self touch tactile sign. Negative critical attitude towards of Hercules is expressed also by Arcadia sitting in Fig.104-2 holding her hand to face.
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Fig. 104. 1. Detail of fresco from the Villa of Mysteries; 2. Hercules And Telephus. Basilica. Herculaneum.
Roman group scene distinguishes by lacking relationship rapport. Figures alienated as dreaming (Fig.105).
Fig. 105. Fresco From Campania.
Roman body alignment and isopraxism example in Fig. 106.
Fig. 106. The fresh one of Ifigenia in Tauride of the House of Pinarius Cerealis (???). Fresco. Pompeii. Villa of the Mysteries.
Roman eye contact is not straight (Fig.107). Gaze slips beside eyes of partner. That property gives to image some poetics, but takes away communicational link between personages.
Fig. 107. Detail of Garlanded Male and Female. House of the Bicentenary. Herculaneum.
