Hostname: page-component-586b7cd67f-dsjbd Total loading time: 0 Render date: 2024-11-22T07:29:46.472Z Has data issue: false hasContentIssue false
  • English
  • Français

‘Cylinders’ in Campanian Art

Published online by Cambridge University Press:  29 November 2011

Roger Ling
Get access Rights & Permissions [Opens in a new window]

Summary

Cylindrical objects lying on their sides appear in a number of paintings and stucco reliefs in Roman Italy, and can be divided into three groups: those which serve as seats for actors in figure-scenes, those which appear amid groups of inanimate objects, and those which are provided with attachments resembling the handles of garden-rollers. (A full catalogue of known examples is given, not only in paintings and stuccoes, but also in other media.) Previous writers have tended to seek an all-embracing explanation, however fantastic, for these cylinders; but it is better to consider the groups separately. The first group are probably discarded column-drums, and the other two are probably rollers employed for preparing palaestra-surfaces (though, in origin, they too may be column-drums). The roller, unlike the simple column-drum, seems to have enjoyed only a temporary vogue as an artistic motif, and to have been confined to minor decorative work in the cities of Campania.

Type
Research Article
Information
The Antiquaries Journal , Volume 51 , Issue 2 , September 1971 , pp. 267 - 280
Copyright
Copyright © The Society of Antiquaries of London 1971

Access options

Get access to the full version of this content by using one of the access options below. (Log in options will check for institutional or personal access. Content may require purchase if you do not have access.)

References

1.Pitt. d'Erc. ii, pl. XII; Helbig 376; Jahn, p. 298 (n. 144); W. Ternite, Wandgemälde aus Pompeji und Herkulanum (n.d.), i, 3, pl. III; O. Elia, Pitture murali e mosaici nel Museo Nazionale di Napoli (1932), fig. 27; R. Herbig, Pan (1949), pl. XXVIII (1); A. Stenico, Roman and Etruscan Painting (1963), fig. 107. For general bibl. on the painting, Schefold, W.P., p. 342.Google Scholar
2. A. Maiuri, La Casa del Menandro e il suo tesoro di argenteria (1933), fig. 65; Maiuri 16.Google Scholar
3.Gli ornati delle pareti ed i pavimenti delle stanze dell' antica Pompei incisi in rame, I (1796), pl. 36; Helbig 1459.Google Scholar
4.Pitt. d'Erc. v, pls. I, LXXXII; Zahn i, pl. 98; R.M.B. vii, pl. III; de Quincy, A. C.Quatremère, Recueil de dissertations archéologiques (1836), pp. 45–7, with plate; F. Mazois, Les Ruines de Pompéi, III (1837), p. 66; T Panofka, Bilder antiken Lebens (1843), pl. XIX (4); E. Carrier, Rev. Arch. II (1845), fig. on p. 445; A. Letronne, Rev. Arch. V (1848), 41; Wieseler, pp. 224f. (no. 2); Helbig 1443; Jahn, p. 298; Schöne, p. 108; Roux- Barré, ii, pl. II (paintings, 2nd series); T Schreiber, Kulturkistorischer Bilderatlas. Altertum (1885), pl. VIII (4); A. Mau, Pompeji in Leben und Kunst, 2nd ed. (1908), fig. 150; Dar.—Sag., fig. 5653; R. Cagnat and V. Chapot, Manuel d'archéologie romaine, II (1920), fig. 373; Reinach, R.P., p. 262 (8); Warscher 57g; C. Leemans, Mededeeling omtrent de schilderkunst der Ouden (1950), p. 16, pl. I (1); Spinazzola, p. 289, fig. 327 on p. 292.Google Scholar
5.R.M.B. x, pl. XXXVII; Wieseler, p. 225 (no. 5); Helbig 201; Jahn, p. 298 (n. 144); Reinach, R.P., p. 28 (5); Warscher 57 k; Spinazzola, p. 289, fig. 325 on p. 291.Google Scholar
6.Fiorelli, G., Pompeianarum antiquitatum historia, II (1862), 219; Helbig 1331 (no mention of cylinder); Herrmann, pl. 55, pp. 70 f.; Reinach, R.P., p. 175 (2); H. Diepolder, Röm. Mitt, XLI (1926), 63; L. Curtius, Die Wandmalerei Pompejis (1929), p. 232 and fig. 136. Helbig and Schefold (W.P., p. 123) give general bibl. for painting.Google Scholar
7.R.M.B. i, pl. B; Zahn i, pl. 82; Inghirami, F., Galleria omerica, III (1836), pl. CXXVII; W. Gell, Pompeiana: the Topography, Edifices and Ornaments of Pompeii (1837), II, pl. XV; J. Overbeck, Gallerie heroischer Bildwerke der alten Kunst (1853), p. 808, pl. XXIII (16); F. G. Welcker, Arch. Zeit. XI (1853), col. 110 (= Welcker, Alte Denkmäler, V (1864), 230); Wieseler, p. 225 (no. 3); Helbig 1332; Jahn, p. 298 (n. 144); Roux-Barré, iii, pl. 98 (paintings, 2nd series); Herrmann, pl. 54, p. 70 (n. 2); G. Rodenwaldt, Die Komposition der pompejanischen Wandgemälde (1909), p. 145; Reinach, R.P., p. 175 (3); E. Pfuhl, Malerei und Zeichnung der Griechen (1923), p. 788; H. Diepolder, Röm. Mitt. XLI (1926), 63; F. Wirth, Rom. Mitt. XLII (1927), pl. 6 (2); H. Bulle, Untersuchungen an griechischen Theatern (1928), p. 324; L. Curtius, Die Wandmalerei Pompejis (1929), p. 232 and fig. 135; P. Marconi, Lapittura dei romani (1929), fig. 52 (wrongly labelled); G. E. Rizzo, La pittura ellenistico-romana (1929), pl. LII; Warscher 57 h—i; H. Lucas, Jahreshefte des Österreichischen Archäologischen Instituts in Wien, XXXII (1940), fig. 34, p. 54; G. Lippold, Antike Gemäldekopien (1951), pl. 15 (81); K. Schefold, Pompejanische Malerei (1952), pl. 35; Spinazzola, p. 289, fig. 326 on p. 292; L. Richardson, Memoirs of the American Academy in Rome, XXIII (1955), pl. xxvi. For general bibl. on painting, Curtius, op. cit., p. 319 (n. on p. 232); Schefold, W.P., p. 196.Google Scholar
8.R.M.B. ix, pl. 11; Wieseler, p. 225 (no. 4); Helbig 941b; Jahn, p. 298 (n. 144); Reinach, R.P., p. 147 (3); Warscher 57 e; Maiuri 31.Google Scholar
9.Pitt. d'Erc. iii, pl. xxxvi (2); C. O. Muller-F. Wieseler, Denkmäler der alten Kunst, I (1854), pl. 1 (3); Wieseler, p. 224 (no. 1); Helbig 1758; Jahn, p. 298 (n. 144); Schöne, pp. 107 f.; Roux-Barré, v, pl. 41 (paintings, 4th series); Reinach, R.P., p. 117 (7); Maiuri 40 (fig. 9); Spinazzola, p. 291, fig. 328 on p. 292.Google Scholar
10. Maiuri 48.Google Scholar
11.Ling, R. J., P.B.S.R. XXXVIII (1970), 167.Google Scholar
12. Ibid. 172 f., pl. xx d.Google Scholar
13. Helbig 1761 b; Maiuri 47 (fig. 10).Google Scholar
14. Maiuri 46; Spinazzola, pp. 289, 291, fig. 323; Schefold, W.P., p. 57; C. L. Ragghianti, Pittori di Pompei (1963), pl. 107.Google Scholar
15.Bull. Inst., 1877, p. 19, no. 4; Sogliano, p. 151, no. 760; Maiuri 59; Schefold, W.P., p. 63.Google Scholar
16. Niccolini, pl. LIV; Warscher 57 b.Google Scholar
17. Mau, Geschichte, pl. XVII; Warscher 57 a.Google Scholar
18. Niccolini, pl. LXX; Presuhn, E., Le più belle pareti di Pompei (1877), II, pl. VIII; P. d'Amelio, Dipinti murali di Pompei (1888), pl. X; Warscher 53 c and following page; Maiuri 53.Google Scholar
19. Dilthey, p. 51 (n. 1); Schöne, p. 107; Maiuri 38; Warscher 57f.Google Scholar
20. Schöne, p. 107.Google Scholar
21. Mau, Geschichte, pl. XII.Google Scholar
22.Pitt. d'Erc. iv, fig. on p. 139; Helbig 1761; Maiuri 45; Spinazzola, fig. 330.Google Scholar
23. Niccolini, pl. LIX; Warscher 57 c; Maiuri 55.Google Scholar
24. Unpublished.Google Scholar
25. Unpublished.Google Scholar
26.Botti, G., Catalogue des monuments exposés au Musée Gréco-Romain d'Alexandrie (1901), p. 179, no. 7; E. Pfuhl, Mitteilungen des Deutschen Archäologischen Instituts. Athenische Abteilung, XXVI (1901), 276 (with fig.); Herrmann, p. 70 (n. 2).Google Scholar
27.Fol, W., Catalogue du Musée Fol, II (1875), 278 f. (no. 2658); Le Musée Fol, iii. Choix d'intailles et de camies antiques, gemmes et pâtes (1878), pl. LXVIII (4); A. Furtwängler, Königlicke Museen zu Berlin. Beschreibung der geschnittenen Steine (1896), pp. 83, 180, pl. 15; Die antiken Gemmen (1900), II, 127, pl. XXV (36); H. B. Walters, Catalogue of the Engraved Gems and Cameos, Greek, Etruscan and Roman, in the British Museum (1926), p. 305 (no.3209) ?; Impronte gemmarie (German Archaeological Institute in Rome), iii (1934), 14 (vii, 68); G. Lippold, Gemmen und Kameen des Altertums und der Neuzeit (n.d.), pl. XLIV (3, 7); J. Boardman, Engraved Gems. The Ionides Collection (1968), p. 98 (no. 47); Antike Gemmen in deutschen Sammlungen, i. Staatliche Münzsammlung München, II (1970), p. 129, pl. 138 (nos. 1377, 1379, 1380).Google Scholar
28. Robert ii, no. 150, p. 161 (with bibl.).Google Scholar
29. Dilthey, pp. 50 f., pl. ABI; Robert ii, no. 201 (with bibl.).Google Scholar
30. Robert ii, no. 196 (with bibl.).Google Scholar
31. Dilthey, pp. 50 f., pl. AB2; Robert ii, no. 199 (with bibl.).Google Scholar
32. Robert ii, no. 194 (with bibl.).Google Scholar
33.von Urlichs, L., Ein Medea-Sarkophag (1888), p. 15; Robert ii, no. 200 (with bibl.).Google Scholar
34. Robert ii, no. 195 (with bibl.).Google Scholar
35.Winckelmann, J. J., Monumenti antichi inediti, i (1767), pl. 96; C. Fea, Miscellanea filologica critica e antiquaria, I (1790), pp. CLXXXVI f.; G. Zoega, Li bassirilievi antichi di Roma, I (1808), pl. XLVIII; A. L. Millin, Galerie mythologique (1811), pl. CXXVIII (482); A. Hirt, Götter und Heroen der Griechen und Römer (1826), pl. XXXVIII (325); J. D. Guigniaut, Religions de l'antiquité (1825–1841), pl. CXCVI (696); E. Braun, Die Ruinen und Museen Roms (1854), pp. 710 f., no. 113; Dilthey, p. 51 (n. 1); Helbig, Führer3, ii, no. 1924; P. Arndt-W. Amelung, Photographische Einzelaufnahmen antiker Skulpturen (1893–1939), no. 1126.Google Scholar
36.Picard, G. C., in La Mosaïque gréco-romaine (Centre National de la Recherche Scientifique, Paris, 1965), p. 129 and fig. 8; S. Charitonidis-L. Kahil-R. Ginouvès, Les Mosaïques de la Maison du Ménandre à Mytilène (1970), p. 29 and pl. 16 (1); M. Yacoub, Le Musée du Bardo (1970), p. 117, fig. 125.Google Scholar
37.Bull. Inst, 1877, p. 19, no. 3; Sogliano, p. 151, no. 760; Maiuri 58.Google Scholar
38.Chandler, R., Marmora Oxoniensia (1763), part I, pl. LVI (no. clii); A. Michaelis, Ancient Marbles in Great Britain (1882), Oxford no. 115; Reinach, R.R. ii, p. 523 (4–6); Maiuri, p. 203.Google Scholar
39.Montfaucon, B., L'Antiquité expliquée et representée en figures, suppl. V (1757), 105 f., pls. XLII–XLIII; Helbig, Führer3, ii, no. 1645; Reinach, R.R. iii, p. 269 (2); Maiuri, p. 203.Google Scholar
40.Guattani, G. A., Monumenti antichi ineditiy May 1786, pl.III, pp. 41–5; L. Becq de Fouquieres, Les Jeux des anciens (1869), pp. 124f.; Maiuri, pp. 202 f.Google Scholar