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What Is: An Ancient Roman Villa, the cultural ideal of rural life?
BY CAROLYN MCDOWALL SEPTEMBER 29, 2012 POST A COMMENT FILED UNDER ANCIENT GREEKS, ANCIENT ROMAN VILLA, ANCIENT ROMANS, ATRIUM, CAMPANIA, CHITON, CITY MOUSE, COLONNADE, COUNTRY MOUSE, CULTURAL IDEAL OF RURAL LIFE, DOMUS, FLORA, GREEK HELLENISTIC ART, HORACE, HORACE THE POET, PERGOLA, PERISTYLE, PERSONIFICATION OF SPRING, PLINY THE ELDER, POMEGRANATE, POMPEII, ROMAN COUNTRY LIFE, ROMAN DOMUS, ROMAN POET VIRGIL, ROMAN VILLA, ROMAN WORLD, SOUTHERN ITALY, TOGA, VILLA, VILLA RUSTICA, VILLA URBANA, VIRGIL, VISTA

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The encounter between the Roman world and Greek Hellenistic art resulted in an enthusiastic appreciation of beauty as an end in itself. A wall painting in a Villa in the first century Roman town at Pompeii in the region of Campania Italy depicts the Roman goddess Flora, who is associated with spring flowers. She is a vision of beauty personified walking gracefully, the lower part of her chiton wafting on a gentle breeze, expressing a sense of joyful freedom and harmony with nature, one that we associate with the ancient Roman civilization at its best. Her turned head indicates that what is concealed may yet be more beautiful still. It also suggests that which is not revealed cannot ever disappoint. It is all about unfolding the mysteries of life gently. This idea also rolled over into architecture where a vista was meant to reveal itself slowly too. Following a succession of small surprises it would climax from the doorway through the main axis of your villa to a distant point where something wonderful, a piece of sculpture, a wall fountain or beautifully painted fresco would be on view. It was also meant to provide an emotional experience, similar to that of following a country roadway winding its way gently through undulating valleys and traversing a dense forest until, after scrambling up and over a steep, rocky hillside you arrive nearly breathless at the top. There you are confronted with a spectacular view that literally takes the rest of your breathe away.
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If you lived on the lovely coastal aspects of Campania that vista might reveal the sparkling blue waters of the Mediterranean. This would have happened a great deal in this beautiful region of southern Italy, which had been colonized by the Ancient Greeks. The Goddess Floras festival was held each Spring symbolizing the renewal of the cycle of life on earth of drinking and of flowers. While a relatively minor figure in Roman mythology, being one among several fertility goddesses, it was Floras association with the season of spring that gave her a particular importance.
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In the history of art a fallen ripe pomegranate spilling its seeds onto a shelf gently reminds us of Spring and why the rites of the passage between the seasons and fertility were important. The fundamental difference between our society today and that of ancient times is that practically everyone had a direct link to agricultural production, whether they lived in the city or the country.

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Most people were dependent on it whether they were landowners, permanent or seasonal labourers, or were simply shopkeepers selling their produce from the land. Compared to modern times, commerce and industry played a very modest role and the overwhelming importance of agriculture in ancient societies cannot be stressed enough, because it affected all aspects of life. Fertility is virtually synonymous with survival so it doesnt take much imagination for us to endeavour to understand why allusions to everything associated with the act of procreation has been uncovered in towns like Pompeii.

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Add to this the fragility of human life in a world without antibiotics or sophisticated surgical techniques; one in which an infected wound, the drinking of contaminated water or a miscarriage meant certain death, we can begin perhaps to understand just a little more. Roman social commentator Pliny the Elder recorded two kinds of villas: the villa urbana, a country seat that could easily be reached from Rome (or any another city) where you could spend a pleasurable night or two. And, the villa rustica, the farm-house estate permanently occupied by servants who had charge generally of the running and servicing of the estate, which the owner visited seasonally. The Roman poet laureate and satirist Horace (65 BCE 8 BCE) complained of life in the capital, jostled by crowds, suffering from bad weather and, because of his position in society (celebrity status), subjected to gossip. He constantly dreamed like many others did of the perceived pleasures of country life in his Villa located nearby to Tivoli, an ancient Italian town in Lazio about 30 km from Rome. Sited near the water falls of the Aniene river, where it issued from the Sabine hills, at his Villa Horace would shed his toga, the Roman equivalent of a suit and necktie, and relax with the books of the ancients, sleep, or rest, while enjoying simple, beautifully prepared cuisine, plentiful wine and discussing, with carefully selected guests, matters of substance.

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So in nearly 2000 years nothing has really changed about human behaviour. And, perhaps we are all still seeking to fulfill Horaces dream. It was Horace who wrote the delightful tale of the country mouse and the city mouse. The former invites his urbane friend to share a meal in his simple dwelling in the woods, offering him to share the few delicacies that he managed to scrimp and save. His fastidious guest barely nibbles on what he has provided while he himself tucks into desiccated berries and scraps of lard. The city mouse then persuades his friend that life is too short to be spent in such rustic and frugal conditions and that he should join him at his house in town, which was filled with fabulous furnishings and a vast array of remains from a banquet of the night before. So like so many others who come after him, the country mouse succumbs. He is lured by the promise of better things to come. He repairs to the city with his friend. And, as the companions are lounging leisurely on luxurious ivory couches sharing a repast, there is a tumultuous banging on the door. The hall is suddenly filled with terrifying and baying hounds. The country visitor beats a hasty retreat saying thank you but he prefers the quiet of his own simple cave and weeds.

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The Roman Poet Virgil (70 BCE 19 BCE), a contemporary of Horace said man who lives in the city longs for the informality of country living, the healthfulness of the air, the opportunity for exercise, especially hunting and fishing in a place which offers undisturbed intellectual and creative activities, leisurely conversation with friends and the delights of contemplating the natural and cultivated conditions. An idealization of country life has never really been one actually shared by those who work the land for a living. They do not generally see the country as idyllic, but rather as a place that offers a challenge to the human spirit through experiencing the devastation of fire, raging floods, plagues of pests and failing crops and famine. Real country life is far from an imagined rusticity or the ideal of rural life as depicted in Roman literature. Sought not what was truest, but what could be most appropriately stated, and wished not to instruct farmers but to delight readers said Virgil as he attempted to explain away an idealized presentation of country life or the falsely idyllic depiction of a man on the lands existence The patricians of Ancient Rome first established villa culture in a desire to enjoy the coveted and perceived pleasures of country life. Romans were intelligent gatherers of other peoples ideas and so they enlarged the Greek peristyle house, into a dwelling that reached the height of its popularity during the later republican period. The layout, arrangement and progression of rooms in a Roman Domus (house) were very important
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Just as the temple was related to its sanctuary as a whole, and to the sphere of influence of the divinity dwelling within it, so the Roman Domus was characterized by its axiality, or domination of the central courtyard by the principal room and the relationship to its space. This however did not apply in high-rise buildings, such as those built during the first century at the seaside town of Ostia. The architecture of a villa broke with traditional layout and its interior spaces were adapted to a more informal and leisurely lifestyle, which included being involved in agricultural pursuits. They always took advantage of the topography of their site. Those villas disposed along cliff tops near Naples and other rocky mountainous areas close to the sea were often built over many levels, following the natural contours of the land. It allowed for all sorts of extra features like a grotto or a cellar for storage beneath, as well as gardens overlooking the sea.

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Generally the door in the middle of the faade of a villa opened into a short corridor, which led into a courtyard open to the sky called the Atrium. This was the first space confronted when the visitor entered. It was partly covered allowing light and air to penetrate while remaining cool and the central focus of domestic life. High ceilings, pierced by a square or rectangular aperture, were open to the sky, which admitted not only light but also rain as well. Because it was a precious resource water was collected in a central pool and while useful, was also symbolic as it was the source of all life. A most important feature near the entrance was the Lararium, which contained a shrine dedicated to the Lares, the household gods who protected the family. Food and libations were placed in front of their images and alongside were kept wax ancestor portraits. The Tablinum was separated from the Atrium usually by an array of Corinthian style columns or half columns (pilasters) and had retractable doors or portieres (textile hangings), that were draped from these columns to be drawn at will. This cool airy chamber was often used as a dining room. However as houses grew larger, more frequently they were used simply as a reception area.

Ladies in the Atrium of a Villa

Beyond was the Peristyle or, colonnaded corridor which passed around an inner rectangular court, or garden, which was open to the sky. If it was possible the all important vista ran from the front door through the centre of the Atrium all the way through to an architectural form or feature at the rear strategically placed to catch the eye of callers at the entrance door. The Peristyle was at the heart of every wealthy residence. To reach it you passed through a series of open spaces; a covered courtyard, an open courtyard with a portico and a garden with fountains. It was generally accessible directly from the vestibule and served as a complement to the rooms arranged around its perimeter. The amount of space not being utilized was directly relevant to the social standing of the owner of the house. Unused space, then as it is in many cities of the world today, was considered a luxury.
The collonade of the Peristyle

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So the more there was, the richer the occupant was perceived to be. The visitor could not fail to be impressed if the peristyle was large and it would have immediately informed him, indirectly, that the occupant was not a plebian (ordinary), but an aristocrat (special). Interior decoration was an essential ingredient in the Roman life style transforming and enhancing their living environment. By using the art of perspective in painting they enlarged the physical space within a room. In some instances they achieved this by offering a glimpse of the sky or, by opening a window into a mythical world the decoration seeming to break through the bounds of the wall. Another role of interior decoration was to turn parts of the house into picture galleries and just as we collect paintings and prints old masters, they collected reproductions of Greek old masters and illustrated stories about Alexander the Great, which held deep moral meanings and lessons about life.
Painted decoration and mosaic floor in the Cubiculum at Boscoreale

The unroofed area of the Peristyle allowed light into surrounding chambers, which were flexibly used for bedrooms, offices, storerooms, small dining or banqueting rooms. Practically every Peristyle of any size was embellished with fountains. When it came to bringing water and plants into the heart of the house the owner had a wide range of possibilities. He might opt for a single basin with a few potted plants. Or, he might turn his entire courtyard into a garden with fountains or a watery fantasy upon which one gazed, but did not enter. The charm of such a space enhanced the private lives of the residents. And, its magnificent dcor conveyed to visitors the owners high status. Embellished by a combination of architectural and natural effects, it was also space in which a variety of activities took place, from solitary pursuits to great receptions. It provided a workspace for servants with a ready water supply and, as a passageway linked all the main rooms of the house so it was busy and productive. Classical busts of admired friends or distinguished ancestors were displayed throughout a Roman Domus in deep recesses. Lighting was very difficult as glass was not readily available before the first century and this is the reason why there were only few and small windows, as the heat also escaped. In winter these wind eyes that let in such perilous draughts were filled with plaited rushes in an endeavour to keep out the wind and cold night air, which was thought to be injurious to ones health. Glass only began to be manufactured in large pieces during the first century at Rome and as such, considered for use by architects. It was an expensive commodity so again, only reached the houses of wealthy aristocrats. The introduction of window glass did eventually led to a better-lit and more efficiently heated style of housing. This came about during the reign of Emperor Augustus (63 BCE -19 ACE 14) when brick faced concrete or stucco brought new standards of stability and safety. Social commentator Pliny the Youngers writings gave full details of the way rooms were designed to catch the sun and one of his descriptions mentioned a bedroom, which had a floor heated by pipes of hot steam. It circulated at a regulated temperature. Braziers were used for both warmth and for cooking as
Peace and serenity at the Getty Villa

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Tripod brazier - purveying the pleasures of fine cuisine

brought from a nearby foodstore and taken home and heated and served. The modern Mediterranean practice

of eating out of doors on hot summer evenings goes back to ancient Roman times. Sheltered by an awning or by a vine arbor and cushioned by mattresses and pillows the diners would recline on their elbows in the Greek manner. They would pick tidbits from a central table, or from floating dishes in the form of little boats and water birds. As night drew on, lamps would be lit in surrounding candelabra that were suspended from the hands of bronze statues. The diet was generally frugal, even in the grandest homes, and only in cases of great ceremony was haute cuisine employed. And, if it was provided by the Imperial gastronome M. Gavius Apicus, well then you knew you had it made. Apicus became famous for his sauces and dressings. He also kindly gave his name to various cakes and his Sucking pig a la Frontinus was sensational. The Romans did not invent ornamental gardening. Shrubs and trees had been used by the Greeks to beautify temple precincts and gymnasia. However it was in the Roman period that pleasure gardens became a major facet of the art of fine living. The term used by Pliny the Elder was opus topiarium derived from the Greek word topia (landscapes). The original aim was to create attractive natural settings and Pliny listed a great variety of gardens as groves, woods, hills, fish pools, canals, rivers, coasts.

The Romans from the time of Emperor Augustus introduced the artificial element statuary and garden furniture, formal layouts, the shaping of trees and the combination of plants with water display. Trees and plants were cultivated in ornamental gardens and they put the accent on greenery rather than floral displays. The development of great villa gardens was an extension of the idea of the sacred garden or grove around temple buildings, further influenced by traditions from Persia. The development of a Villa (a country estate) was especially influenced by poetic themes inspired by Horace and Virgil, as they lyrically expressed their joy in the natural beauty of the countryside, which they loved. In a villa rustica in the Roman countryside they believed pure life and country air allowed for a man to
Getty Museum of Antiquities, reproduction of an ancient Roman villa

experience true otium (free time). And, as Horace reminds us, he who postpones the hour of living rightly is like the rustic who waits for the river to run

out before he crosses. A Villa in Roman times was the cultural ideal of rural life and in it, surrounded by nature, man could become master of his own destiny. Carolyn McDowall, The Culture Concept Circle 2010 2012 Horaces delightful telling of the story of the City Mouse and the Country Mouse Illustration by Scott Gustafson BkIISatVI:77-115 Now and then Cervius my neighbour spins us a yarn, Some apt old womans tale. So, if anyone praised Arellius wealth but ignored his cares, hed begin: Its said a country mouse welcomed a town mouse once To his humble hole, the guest and the host were old friends: He lived frugally, and was careful, but his spirit Was still open to the art of being hospitable. In short, he never grudged vetch or oats from his store, And hed bring raisins or pieces of nibbled bacon In his mouth, eager by varying the fare to please His guest, whose fastidious tooth barely sampled it. At last the town mouse asks: Wheres the pleasure, my friend, In barely surviving, in this glade on a steep ridge?
Country and City Mouse by Scott Gustafson

Wouldnt you prefer the crowded city to these wild woods? Come with me, I mean it. Since all terrestrial creatures

Are mortal, and theres no escape from death for great Or small, then live happily, good friend, while you may Surrounded by joyful things: mindful while you live How brief existence is. His words stirred the country mouse, Who scrambled lightly from his house: then the two Took their way together as proposed, eager to scurry

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Beneath the city walls in darkness. And now night Occupied the zenith, as the pair of them made tracks Through a wealthy house, where covers dyed scarlet Glowed on ivory couches, and baskets piled nearby Held the remains of all the courses of a magnificent Feast, that had been celebrated the previous evening. Once the town mouse had seated the country mouse Amongst the purple, he rushed about like a waiter, The host serving course after course, performing the role Himself, and not unlike a slave first tasting what he served. The country-mouse at ease enjoyed the change of style, Playing the contented guest amongst all the good things, When suddenly a great crashing of doors, shakes them From their places. They run through the hall in fear, stricken By greater panic when the high hall rings to the barking Of Molossian hounds. Then says the country-mouse: This Lifes no use to me: and so, farewell: my woodland hole, And simple vetch, safe from such scares, theyll do for me. Share| Related posts: 1. 2. 3. 4. 5. Bikini Girls Splitting the Atom on Sicily in a Roman Villa 18th Century Compleat Gentlemen Rulers of Taste & Style The Culture Concept Circle You Tube Channel CIVILISED At the Beginnings of Art Day 4 Conversion, Cornerstone and Civilized Life Arts & Crafts Movement William Morris the Art that is Life

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