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1. Promotion sample from the wallpaper manufacturer in Lyon (France, about 1815–1820) 2. Fragment of a Herculaneum wall painting 2 1
The Influence of Pompeian Painting on European Wallpaper Design Since the general revival of interest in antique arts during the Renaissance period, the most mysterious of it has been Greek-Roman painting. In difference from architecture or sculpture, information on painting was gathered almost exclusively from literature. When in 1738, by the decree of Charles VII, king of Naples, archaeological diggings were started in Herculaneum, and ten years later in Pompeii, for the first time in history it was possible to carry out detailed studies of antique painting. It, in its turn, brought to a new revival of this particular kind of art during the Classicism period. The most influential and important source of antique painting samples was one of the earliest publications on uncovered antiquities: the complete catalogue of findings published in 8 volumes - Le antichità di Ercolano esposte (1757–1792). The major part of it was dedicated to the fragments of paintings. This partial view on antique painting has left deep influence on the interior decoration scheme of Classicism in general as well as on European wallpaper design in particular . The Swedish painter Adam Peter Holmberg (1762–1819) established a wallpaper manufacture in the beginning of the 19th century, to produce the so-called Etruscan wallpaper. This wallpaper consisted of separate sheets, printed with freely adapted antique ornament motifs . Le antichità di Ercolano esposte was not the only source used for inspiration, other publications dedicated to antique ceramics appeared helpful as well. As a result the contrast of orange and black, characteristic of Greek pottery, was used in wallpaper colour scheme. The same type of wallpaper had been produced in France since the 1780s. The most renowned manufacturer was Arthur & Rober in Paris, and its décor was spread across Europe. To improve the pasted décor, in the beginning of the 19th century French manufacturers started to offer large scale figures, cut out as silhouettes [Fig.1]. It was possible to glue them in the centre of the framed monochrome background or to paste them on an illusory base as sculptures. The type of freely levitating figures in the air is directly borrowed form Pompeian painting [Fig.2]. Findings in Italy once more brought to daylight arabesque or grotesque motifs in the interior finishes. The popularity of arabesque grew rapidly during the 1770s. It is considered to be one of the highlights of French wallpaper design and the royal manufacture of Jean-Baptiste Réveillon was particularly distinguished in the field . Generally, Pompeian influence on wallpaper design can be traced until the 1830s, when it is rapidly replaced by the samples from other historical styles. It must be emphasised that Pompeian painting influenced European wallpaper design, starting already with the first publications on archaeological findings in the mid-18th century, and it has retained its significance throughout the Classicism period. It was owing to the new trends in wallpaper design, introduced by Pompeian painting, that the practice to imitate the fabrics ceased to be considered as the finest achievement any more; instead, original design became more and more influential.
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