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Updated: August 10, 2024
=Evolution of Background in the History of Painting: The First Stage.= In the history of figure painting it is interesting to study the evolution of the element of background. This element is non-existent in the earliest examples of pictorial art. The figures in Pompeiian frescoes are limned upon a blank bright wall, most frequently deep red in color.
With characteristic audacity Nancy had chosen old Nathaniel's sanctum for her particular salon, into which Ham himself did not dare to venture without invitation. It was hung in Pompeiian red and had a little wrought-iron balcony projecting over the yard, now transformed by an expert into a garden.
We were not sorry to come to the end of our cold, two hours' journey, and find a cheerful wood fire blazing in the little Pompeiian restaurant by which to warm our half-frozen feet, and also something welcome in the way of refreshment. Our little wiry horse had certainly done his duty, and deserved our gratitude.
The circle of the French provinces was as desolate as the Pompeiian Forum, and save for the bright colours of the banks of flowers that were heaped upon the monuments to Alsace and Lorraine, the place might have been an excavation rather than the heart of a great world metropolis. Before the war, to cross the Place de la Concorde and go into the Champs Elysees was an adventure of a life time.
In every crossway was a public fountain with a grotesque mask which had spouted water through its mouth. Certain red letters on the walls were announcements of elections to be held in the beginning of that era, candidates for aedile or duumvir who were recommended to the Pompeiian voters.
Looking out on the court, and sustaining this classic illusion, is a marble-paved dining room, with hangings of Pompeiian red, and frescoes of nymphs and satyrs and piping shepherds, framed between fluted pilasters, dimly discernible in the soft lights.
It must, however, be admitted that the posterior mode of coitus is not only a widespread, but a very important variation, in either of its two most important forms: the Pompeiian method, in which the woman bends forwards and the man approaches behind, or the method described by Boccaccio, in which the man is supine and the woman astride.
Hardly a sign or a symbol to tell its story. In one of these long Pompeiian halls the skeleton of a man was found, with ten pieces of gold in one hand and a large key in the other. He had seized his money and started toward the door, but the fiery tempest caught him at the very threshold, and he sank down and died. One more minute of precious time would have saved him.
As we recede we obtain a better view of the undulating coast, embraced in one grand mountain form, all its parts uniting like the members of one body. Ischia and the naked promontories on the extreme end repose in their lilac envelop, like a slumbering Pompeiian nymph under her veil.
She had covered the marble parlor-mantel with cloth, and fringed it; and she had set on it two vases in the Pompeiian colors then liked; her carpet was of wood color and a moss pattern; she had done what could be done with folding carpet chairs to give the little room a specious air of luxury; the centre-table was heaped with her sewing and Bartley's newspapers.
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