The Boscoreale-Frescoes from the Villa of P. Fannius Synistor

The Boscoreale: Frescoes from the Villa of P. Fannius Synistor


This piece of art emerged from the Roman Republican Period and is dated at around ca. 50-40 B.C. tt was excavated in Pompeii by an artist called, Vincenzo de Prisco and later acquired by Roman fresco. It is one of the remaining pieces of art that are well preserved and on display at the Metropolitan Museum of Art. it is believed to have been painted between 1000 BC and 1 A.D. It belongs to the class of Fresco and is classified under the genre of type of Roman art.

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The general message from the painting

The depiction of the art represented the superfluous life of the aristocrats at the time when the painting was made. It served as part of the residence that was owned by the affluent in the society. In this piece of art, there is a well-defined boundary that shows where the owner of the farmhouse lived and was separated from other residents. According to Stanton-Abbot (2011), the decoration of the cubicle was no modified to suit the contemporary styles, which indicated the taste and class of the occupants at the time when it was put up.

The decoration of the fresco also represents indistinct images that cannot immediately comprehend what they stood for. It is understood that the picture accurately refers to several practices in the olden times including farming and the type of architecture that existed. It showed the typical lifestyle and environment of the Romans during that period. There are various colors and other ambiguous representations that indicate the kind of entertainment that the people enjoyed different on different occasions.

Interior details of the cubicle show numerous rooms that the Roman-occupied to account for their opulence lifestyle. It was a three-stored building with several bathrooms. The author of the document used rich styles to convey the message that was rightly conveyed and preserved to the current generation. It is noteworthy that the images were excavated and reconstructed later but the message remained clear as to what the original painter intended to pass across. The spacious and well-lit rooms indicate a fitting description of a kingly abode. Matching features such as frames, columns, the general landscape that is represented in wide green spans outside the building shows the area was occupied by rich and powerful in the society. Most likely, they were the rulers or aristocrats of the time.

The painting on the highly acclaimed fresco indicated the nature and quality of the painting that was to be made on it. The artist used overlapping series of orthogonal structures that represented distance. The size of the general building was accomplished using the aerial perspective of the building but the artist was careful not to use vanishing points. According to Cengage Sites, although the authors were inconsistent in the use of artistic features, the painter of the article in description managed to open to the viewer various features through the bedroom of a larger building. The use of linear perspective is consistent in showing the distance between objects. The style was popular at the time to show the expanse of the room it in what was called the Second Style. Objects that were near such as the ledges and niches were used variously to show close objects within the building.

Expansive use of color in the interior of the house was employed by the author to show the grand lifestyle and sometimes the extent of the rooms. Colors captured the mood in the buildings and were used by artists to convey the focus of a particular feature as well as the surrounding environment.


Roman that was once a world ruler used several styles to capture aptly their lifestyle and architecture through various artistic styles. These styles that were labeled as from Style One to Style Four included enabled the modern world to peep into the past to understand the lives of the people of olden times. Artistic techniques such as linear perspective, use of niches, aerial perspective, and color were employed at the piece of art that was excavated after several centuries. Shadows are also used at the villa of Pablius Fannius Synistor at Boscoreale. The use of color at the entrance lets the viewers understand the full extent and magnificence of the buildings. It is instructive to note that the artists at this medieval times, although they were not always consistent, they managed to represent the pieces of architecture successfully.

List of references

Cengage Sites; Roman Arts,

Roman Art,  A resource for educators,

Boscoreale: Frescoes from the Villa of P. Fannius Synistor,

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