M. Brunetti – Painted curtains. The pavillon vaults of the Domus Aurea and their reuse in Raphael’s art

This paper aims to reconsider some issues concerning Domus Aurea's wall paintings and their reception in the Early Modern Age. The first part of the article is focused on two main archaeological issues. First, the geometrical system of a group of Neronian ceilings is analyzed in order to show how they aimed at imitating the Hellenistic pavilions devoted to otium, thus appearing in line with the architectural "pavilion" structure of the Oppian building and its function as a "building for the Imperial otium". The ancient origin of the grotesque motif is then investigated. Its similarity to hieroglyphics is taken into consideration supposing a possible derivation from Egyptian textiles patterns (questioning the anti-classicistic/anti-Augustan origin of the grotesque motif proposed up to now by some scholars). The second part of the article focuses on the discovery of Domus Aurea's paintings in the 1470s and their study in the 16th century. Firstly, the article explains the reason why a number of Renaissance scholars were able to claim that the underground paintings belonged to Nero's Domus Aurea (and not to Titus' Baths/House as most antiquarians of that time believed). Secondly, the imitation and "out-growing" of ancient art by Raphael’s workshop is investigated and the way in which the artist and his pupils copied and also codified the function of the Roman wall-painting decorations, such as fake tapestries and pergolas, is specifically discussed.

Domus Aurea, wall paintings, Raphael, antique, Nero, grotesques