Neronian Wall‐Painting. A Matter of Perspective

Abstract

The abundance of evidence marks Neronian wall-painting particularly enticing and worthwhile for study, but it also constitutes a crucial heuristic problem: that is, how to handle the relationship between the genre and Nero's persona. It is not enough to ask whether Neronian wall-painting has perspective: we must also ask what perspective Neronian wall-painting has. The author uses “perspective” here as a principle to organize objects in space, and uses it as a category to explore the relationship between wall-painting, the spaces it represents, the spaces within which it is displayed, its viewers, and the types of spectatorship facilitated in the mix. In this chapter, the author employs perspective specifically to consider the way in which spatiality, narrative, and perception are negotiated in Neronian wall-painting, starting with the domestic contexts of Campania and then using them as a filter to explore the evidence of the Domus Aurea.

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