This chapter moves from painting to ’practice’. A particularly striking example both of theatricalised domestic space and activity is seen in the layout and decoration of dining rooms (triclinia), and in the range of entertainments presented within them. We examine how, responding to changes in the political, cultural and economic conditions of Roman society during this period, these private triclinium spaces and their decorative schemes were often systematic adaptations drawing upon the continuously evolving public discourse generated by theatrical entertainments. The chapter describes the range and nature of presentations that took place within the house, primarily as part of the dinner entertainments. Our focus is upon the likely venues as well as the decor of these spaces, and how, in combination, they created highly theatricalised and richly suggestive settings for performance and its reception. We include a detailed case study of the Pompeian House of Marcus Lucretius, detailing how these elements have been synthesised through the deployment of a pervasive theatricalism to create a highly appropriate setting for visitors as they move through its various rooms and spaces

This chapter details the historical development and cultural significance of theatre structures in Pompeii and Herculaneum. It describes the influence of earlier Hellenistic theatre architecture, as, over time, these theatres evolved into the ‘Roman format’. It cites the importance of theatre to artistic and political life. It details an interpretation of the spatial, kinaesthetic and aesthetic aspects of the Pompeian theatre-going experience inspired in part by studies of the Roman house. It begins an examination of the relationship between modes of perception and experience in the theatrical and the domestic spheres.

This chapter continues the discussion of Second Style paintings, concentrating on prominent examples at Pompeii and in Rome on the Palatine Hill. Paintings from the ‘House of Augustus’ and the adjacent House of Livia are examined and analysed in detail. The focus is upon examples of theatricalism and more overt theatricality evident in such works. Particular attention is drawn to stage-like structures and the suggestion of scenic facades (including depictions of townscapes) which feature prominently in several of the frescoes. There is also a close analysis of the systems of perspectival depiction deployed in these works.

This chapter discusses how the layout and organisation of the ancient Roman house comprised a veritable Mise-en-scène in which both patrons and guests expressed and were conditioned by a culture and aesthetic practices in which the theatre was a dominant influence. It analyses the spatial and decorative organisation of Roman domestic spaces, and describes how these created an intensely theatricalised ambience which directly impacted upon and was reflected in the behaviour of both patrons and guests.

This chapter focuses upon Fourth Style perspective painting. We outline the very extensive historic scholarly debate about the possible depiction in such paintings of Roman stages, while developing our own, more nuanced, assessment. We discuss the different types of theatrical influence we believe are evident in many of these works, including examples the composition of which we suggest were influenced by theatre architecture and scenery. Fourth Style walls often displayed ornamental architectonic structures strongly evocative of the theatrical scaenarum frontes (stage façades) that featured both as elements of actual Roman theatre architecture as well as appearing in cognate edifices such as nymphaea. The Fourth Style frescoes prominently featured the painted depiction of curtains, drapes and, ubiquitously, theatrical masks.

This chapter highlights and defines ‘theatricalism’ and ‘theatricality’ as critical terms, useful for understanding Roman culture. It provides examples of each, suggests how useful the terms are for describing Roman art, architecture, domestic décor, ceremonies and political life. It summarises how subsequent chapters will examine the concepts informing these terms and will use these to further out understanding of crucial aspects of Rome art and society. It also introduces the concept of ‘mixed reality’ and the practice of mnemonics, ekphrasis and phantasia as key examples of how theatricalism figured in Roman artistic, mental and cultural life.

This chapter moves from the physical and visual aspects of the theatre to discuss the nature and varieties of performance as these may have been experienced by ancient spectators, while taking into account too what we believe we know about the cultural role of theatrical and spectacle entertainments. The various diverse forms of theatrical performance are detailed included Atellan farce, mime and shows in the arena. We discuss the varieties of scenic provision, and also explore the nature of the theatricalised experience and perception of ancient spectators. We describe at length the particularly important and highly popular art of pantomime.

This chapter examines the nature of political activity at Pompeii and explores and describes in detail the central role that sponsorship of theatrical performance played in its political life. It identifies some of the prominent political figures at Pompeii, and the evidence for their sponsorship of theatrical entertainments. In looks at the houses and décor of several such politicians, and explores how their espousal of theatre may be reflected in their homes.

Was demythologization driven by a change in taste among Rome’s aristocratic elite, as they increasingly retreated from public life to the comforts of their rural villas? This chapter turns to sarcophagi featuring bucolic and philosopher imagery, the most popular of the mythless genres, and to theories that appeal to politics, especially the changing political fortunes of Rome’s traditional senatorial families, when trying to account for their popularity.

Was the demythologization of Roman sarcophagus reliefs driven by a burgeoning Christian faith? To put it more succinctly, was myth a casualty of Christianity? This long-standing theory proposes that sarcophagi featuring mythless imagery – seasons, shepherds, philosophers, and hunters – gained in popularity because such imagery was religiously neutral and thus capable of appealing to both traditional “pagan” and new Christian clientele alike, a flexibility that the old mythological sarcophagi did not have. Testing this hypothesis requires that we consider Christian numbers and purchasing power in the city of Rome in the third century, as well as the question of who, exactly, was carving early Christian sarcophagi.

This chapter analyzes a very different sense in which “demythologization” is sometimes used: referring not to the wholesale abandonment of mythological narratives but to their fragmentation and deformation as individual characters are ripped out of their narrative context in order to function as stand-alone symbols. Prior scholarship has consistently conflated the two phenomena. For critical leverage here I analyze the development of particular genres of sarcophagi, such as those showing frisky sea creatures, while also stepping outside the funerary domain to consider questions of narrative and allegory raised by sculpture in the round and ensembles of domestic wall paintings.

Was demythologization a response to the Third-Century Crisis? With the empire reeling from the combined pressures of civil war, barbarian invasion, plague, and economic depression, perhaps Rome’s elite were drawn to bucolic, seasonal, and philosophical scenes for the allegorical tranquility they offered, as a form of refuge from the turmoil of real life? This chapter interrogates this thesis, with far-reaching implications for how we understand similar arguments launched about other periods in world art.

One of the most striking things about myth on Roman sarcophagi is that, after exiting the stage during the second half of the third century, it returns with a vengeance in the fourth – this time in Christian guise. How are we to conceive of the relation between the polytheistic myths that had long adorned Roman coffins and the Christian myths that succeeded them? What was their altered view of temporality, allegory, and the afterlife? And what is the relevance of sculptural technique and tooling to understanding this relationship? Such is the subject of this book’s closing chapter.