The Third Style: about 20/15 B.C.-45 A.D.

The Third Style is a direct continuation of phase IIb of the Second Style. The architectonic elements in the wall paintings have been slimmed down and do not function as such anymore. The only serve as partitions of the wall's space.

It was long believed that the Third Style has not known an elaborate stylistic development. Thanks to the research done by the Dutch Art Historian F.L. Bastet, a refined partition of the Third Style is now available. The Third Style was less static than researchers had always believed.

The Third Style consists of two phases:

Phase Ia, about 20-10 B.C. -> Continuation of desintegration of architectural elements in the decoration, especially in the middle zone and the socle of the wall decoration (cf. Casa del Gallo, Pompeii).

Phase Ib, about 10-1 B.C. -> Further consolidation of the wall's space: the central figurative scene becomes static and gets much emphasis. Entourations become less "noisy" (cf. Villa Imperiale, Pompeii)

Phase Ic, about 1 B.C.-25 A.D. -> Development of manierism of the wall's space and vegetative elements, with an urge to isolate the upper zone of the wall decoration (cf. the Villa of Boscotrecase).

Phase IIa, about 25-35 A.D. -> Development of partition of the wall's space in more or less independant elements, with a beginning taste for diagonal decorations (cf. Casa del Granduca, Pompeii)

Phase IIb, about 35-45 A.D. -> The middle zone of the wall decoration is broken open by means of fantastic architectural elements, which will eventually control the socle and the upper zone of the decoration as well (cf. Casa di Lucrezio Frontone, Pompeii).

General characteristics phase I: flat wall decoration without plastic effects; the socle has been decorated geometrically, there are animalistic ornaments and minute details. The central figurative scene remains being applicated, which is often parted into three horizontal and three vertical zones (i.e. axial partition). The phase I is strongly classicistic-augustean.

General characteristics phase II: in this phase, the style becomes more lively. Architectural motives return and theatrical influence is sometimes applied again, especially in the upper zones of the wall painting. The central figurative scene is often constructed diagonally. It becomes smaller and often "hangs on the wall" like a little framed painting. Villa-landscape scenes become very popular.

Literature:

F.L. Bastet, Forschungen im Hause des M. Lucretius Fronto, Neue Forschungen in Pompeji, Recklinghausen 1975, 193-197.

F.L. Bastet, Villa Rustica in contrada Pisanella, Cronache Pompeiane 2 (1976), 112-143.

F.L. Bastet & M. de Vos, Il terzo stile pompeiano, Den Haag, 1979.

Tanaquil