Pompeii No.42: A Return for Marcus Aurelius

My original idea for filling this wall was to create a trompe l'oeil arrangement that resembled a wall of the London residence of Sir John Soane.

musicartlondon.wordpress.com

Not only was Soane England's premier Neoclassical architect, but he appears to have been the first person to collect architectural salvage on a large scale. Later in life, he trained young architects from his house, and his collection became an important source of learning for them. Sir John Soane had a very modern design sense, and I'm a huge fan of his work. You can read more about him in the homage I posted here.

At some point, though, I realized that to continue my masonry lines and to also paint architectural remnants would be much too busy, and that I would be better off to pick one great sculpture and give it preeminence.

I settled on this huge sculpture of barbarians kneeling before Emperor Marcus Aurelius, who is about to pardon them. The sculpture, which is nearly life-sized, is incorporated into the main staircase of the Palazzo del Conservatori, one of the Capitoline Museums. It's interesting that the emperor's gesture mirrors the statue of him that is in front of the same museum, below.

Looking at the composition, I was bothered by one head that seemed slightly out of scale, and which, in my opinion, detracted from the head of the emperor's immediate companion, Tiberius Claudius Pompeianus. And so I took the liberty of removing it — adiós!

I begin by outlining the figures. All the straight lines are still in pencil because I'll go back and define them with a straightedge.

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Next I work in the middle of the image because I want to be satisfied with all the faces early in the process. I'm using Sherwin Williams paints the same way I'd use artists' acrylics, developing depth through washes of increasingly darker tones. I generally paint a range of middle tones, then paint darker tones, then paint highlights. Most of the real work is done in the middle tones.

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Here's the final image, what I call the Marcus Aurelius Plaque. You might recall that there is a roundel portrait of the emperor on the other side of the kitchen door, so I now also have a Marcus Aurelius Wall.

Looking towards the living room — I painted the plaque to match the coloration of the transom sculptures.

Here's a view looking back towards the kitchen.

In the next posting, I'll address something that's been bothering me for months, and I know it will improve the whole room. I hope you'll join me then!

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Pompeii No.41: The Kitchen Masonry

Here's the kitchen masonry painted, and now the Pompeii Room is starting to look finished on all three sides (four, if you count the transom). As you can see, the mural turns a corner into the living room, to meet a bookcase.

Because the masonry is rather stylized, I've kept the pediment equally simple, but I haven't decided whether it should be more ornate. On one hand, more detail might be fun, and on the other hand, no amount of detail will make the pediment truly trompe l'oeil because the 3-dimensional door frame is always seen at close range. What do you think — more detail, or leave as is?

Here's the kitchen surround, looking into the living room. As you can see, the kitchen masonry dovetails into the transom, which in turn meets the masonry of the opposite wall.

I've left room for a plaque to go in this space, and it might just be my favorite detail yet. Can you guess what will go here? All will be revealed in the next posting, and I hope you'll join me then!
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Pompeii No.40: The Kitchen Door Frame

In my posting No. 39, I revealed the corner of my dining room dedicated to Marcus Aurelius, below:

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Now it's time to move to the the yellow wall and tackle the kitchen door and the area that surrounds it, as seen in the diagram above and the image below:

Oh, oh, the color photo didn't turn out too well, so we'll make it a duotone and pretend it's an old archival image. The door frame was put up before I had any thought of a mural, so it's not Pompeian in style. I'd describe it as Elizabethan.

The door frame was designed around two angelic furniture details that were a Christmas gift many years ago from my sister-in-law, Alice. The rest of the door frame was built to my design by a very talented artist, Jerry Jones. When I designed the door, I was actually thinking of that great English treasure, Knole House, below.

knoleconservationteam.wordpress.com

Because the door frame was moved to my house from my previous address, it was not exactly flush to the wall. So the first order of business was to fill in a slight gap with a mixture of caulk, spackle — and on some rounded edges — papier maché.

I've painted the door frame to look like stone, and the rest of the wall will match the other masonry in the room.

Here's the finished kitchen door and the base coat for the wall, with masonry lines penciled in.

If you look closely, you can see that I've penciled a pediment over the door frame. I hope the result will give it a slightly more Neoclassic feel.

And I hope you join me for the next posting,

when I paint the blocks, and mortar them into place!

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Wishing you a very happy, new year!

We'll get back to the progress of the Pompeii Room in the next posting. In the meantime, I hope you are able to extend the spirit of the season, and are enjoying New Year's Day!
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Pompeii No.39: A Dove for Marcus Aurelius

Two postings ago, I revealed the primary wall of the Pompeii Room, finished above the green and red that could be considered a wainscoting.

Today, we'll look at the opposite wall, where I'll add a mourning dove on the ledge above Marcus Aurelius' portrait; it will complete that portion of the mural to the same degree.

Mosaic from fineartamerica.com, all others,  The Art of Pompeii  |  Magagnini  |  de Luca 

Doves were often depicted in Pompeian murals and mosaics. Doves mate for life and both the male and female build their nest. For the Pompeians, the dove represented love, friendship and care of the family. It was also associated with the goddess Venus.

birdinginformation.com

I am not a birder, so as I researched the mourning dove, I looked at it with fresh eyes. What looks rather ordinary from a distance is actually almost opalescent at close range, and look at the beautiful blue ring around the eye!

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Here's the Marcus Aurelius corner, complete above the green bar. We'll be working on that green and red later (and if I had planned a little better, the green and red work would have been perfect for the Christmas season). But first, there's work to be done on that yellow section, to the right of the columns.

I hope you'll join me as the mural encompasses the kitchen door and inches towards the living room!
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Pompeii No.38: Gifts from Vesuvius

www.lovethesepics.com

Recently, Allan and Peter – good friends and neighbors – traveled to Spain to visit with Peter's family. While there, they shared my blog with Peter's brother-in-law, Joan, who has visited Pompeii.

Joan is a very generous fellow, because he parted with four little gems that he had picked up in the rubble of Pompeii.

When they got home, Peter and Allan gave me these artifacts in the handsome presentation you see above. You can imagine how surprised and delighted I was, especially since I have never been to Pompeii!

The first item is a piece of pumice measuring approximately one inch. When Vesuvius erupted, there were two phases of the destruction, which lasted over two days. First, on the morning of August 24, 79 A.D., there was a tall column of material that shot up from Vesuvius and then fell like rain. This is named the Plinian phase, so-called after Pliny the Younger, who witnessed the eruption at a distance and who left the only eye-witness account.

Light and small pumice like the one above rained for 18 hours, and while the pumice rain was not a direct threat to human life, it accumulated to probably more than eight feet, causing roofs to collapse and buildings to fill with the equivalent of heavy Styrofoam pellets.

By the morning of August 25, the residents still in Pompeii realized that the city was uninhabitable. There was a mass exodus, but for those who had remained, it was already too late. The second, or Peléan phase of eruption started. (Peléan is a reference to the observations of the 1902 eruption of Martinique's Mount Pelé.)

In that phase the 18-hour column collapsed and a glowing cloud of high-temperature gas and dust raced down Vesuvius at approximately 60 mph (100 km), killing anyone who remained in its path.

The second item is a piece of lava, shown above. Ironically, the rain of pumice and dust which initially destroyed Pompeii, also preserved the city against the lava that followed. This piece measures 1¼".

Finally, the third and fourth items are two mosaic pieces, each less than ½". Some mosaics were scattered to the winds, as the weight of the pumice destroyed ceilings, walls and floors.

I will be proud to permanently display these interesting and historic artifacts in the Pompeii Room when it is completed!

Pompeii No.37: Painting the Legends

I thought it appropriate to label the roundel portraits (the last three of the Five Good Emperors), and so I cast about for a good label design to do them justice.

Here's how Michelangelo labeled each of the Sibyls in the Sistine Chapel. That's what I settled on, and as it turns out, my choice of colors is close to his as well.

This type of design is called "strapwork," because the shapes mimic the artful designs that leather and metal straps of Michelangelo's time featured. My blogging friend Theresa of Art's The Answer has posted extensively about strapwork, and you can read more about it at her site, here.

Below is the primary wall of the Pompeii Room, finished above the green bar. I'll be doing more work on the green and red areas a little later.

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Notice that the two roundel portraits on this wall balance the clipeus, or metal shield that hangs over the cityscape. Likewise, the bases of the muses balance the flowers and the white cloth behind them, in the identical stepped pattern. Finally, within the cityscape itself, the divided pediments in the background follow the stepped pattern as they relate to the foreground pediment.

I have one more element to add above Marcus Aurelius, and then we'll look at his wall, too. But first, I'll be sharing a Pompeian surprise that came my way recently. I hope you'll join me next week for that!

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Pompeii No.36: Last of the 5 Good Emperors

Marcus Aurelius  |  photo illustration, Mark D. Ruffner

In my last posting, I unveiled my Pompeii Room portrait of Emperor Antoninus Pius. Hadrian had named Antoninus Pius his successor on the condition that he would adopt the young Marcus Aurelius and also Lucius Verus (who was the son of Lucius Ceionius Commodus — Hadrian's first-chosen successor), and make them co-heirs. This Antoninus Pius faithfully did. His faithfulness to such a demand was one of the reason's the Romans called him "Pius."

the young Marcus Aurelius  |  mutualart.com

Marcus Aurelius (121-180 A.D.) displayed qualities from a very early age that made people think that he would be a fine choice to become emperor. He was born into an aristocratic family, yet at an early age embraced Stoicism, preferring to live so simply that he had to be persuaded to sleep in a bed rather than on the ground. He had a fine education, including lessons from Alexander of Cotiaeum, the leading Homeric scholar of the day, and Herodes Atticus and Fronto, the leading orators of the day.

After Antoninus Pius adopted him, Marcus Aurelius married the emperor's daughter, Faustina the Younger, who was — through his adoption — also his step-sister. Thereafter he was given high appointments at a very early age, though his quick ascent did nothing to change his good, studious character.

a bust of Lucius Verus from the Metropolitan  |  commonswikimedia.org

Upon Antoninus Pius' death in 161 A.D., Marcus Aurelius and Lucius Verus became co-emperors. The Senate was prepared to declare only Marcus Aurelius as emperor, but Marcus Aurelius insisted that Hadrian's plan of succession be fulfilled. It might have been a formula for disaster, except that Lucius Verus was outranked and perfectly happy to play second fiddle. He left Rome on several military campaigns, lived a life of debauchery, and died in 169 A.D.

Thereafter, Marcus Aurelius ruled alone until his death in 180 A.D. He is probably best remembered for his personal musings, Meditations, and for being the quintessential philosopher-king. Ironically, this scholarly emperor spent much of his reign away from Rome, fighting German tribes along the empire's borders.

Here's my portrait of Marcus Aurelius, in the style of Hadrian's and Antoninus Pius'. It hangs above the Muse of Painting, on the opposite wall.

I hope you'll join me next week when I add labels to these portraits, making use of a design by none other than Michelangelo.

See you then!

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