{"id":1859,"date":"2017-07-19T20:17:37","date_gmt":"2017-07-19T20:17:37","guid":{"rendered":"https:\/\/courses.lumenlearning.com\/suny-ncc-zeliart\/?post_type=chapter&p=1859"},"modified":"2018-08-22T20:03:15","modified_gmt":"2018-08-22T20:03:15","slug":"still-life-with-peaches","status":"publish","type":"chapter","link":"https:\/\/courses.lumenlearning.com\/suny-ncc-zeliart\/chapter\/still-life-with-peaches\/","title":{"raw":"Still Life with Peaches","rendered":"Still Life with Peaches"},"content":{"raw":"
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Still Life with Peaches and Water Jar<\/em>\u00a0(left),\u00a0Still Life with a Silver Tray with Prunes, Dried figs, Dates and Glass of Wine<\/em>\u00a0(center), and\u00a0Still Life with Branch of Peaches<\/em>, Fourth Style wall painting from Herculaneum, Italy, c. 62-69 C.E., fresco, 14 x 13 1\/2 inches (Archaeological Museum, Naples<\/a>)<\/h4>\r\n<\/div>\r\n<\/div>\r\n<\/div>\r\n<\/div>\r\n<\/div>\r\n<\/div>\r\n<\/div>\r\n
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Hostess Gifts<\/h3>\r\n<\/div>\r\n
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When I was growing up, my (proper, Southern) mother always insisted that I bring a hostess gift (something brought to the host by a guest) to my friend\u2019s parents when I spent the night at their house. A typical teenager, I thought she was annoyingly old fashioned. This painting, Still Life with Peaches and Water Jar, proves that she was old fashioned\u2026really old fashioned. It turns out that the practice of presenting hostess gifts dates back to the ancient Greeks; in antiquity, though, it was the host\u2014not the guest\u2014who presented the gifts. This small fresco is an example of how the Romans played the hostess game and how this generosity was captured by ancient Roman artists.<\/div>\r\n<\/div>\r\n
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House of the Stags, Herculaneum<\/h3>\r\n<\/div>\r\n
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Archaeologists discovered\u00a0Still Life with Peaches and Water Jar<\/em>\u00a0in the House of the Stags in Herculaneum, once a wealthy, seaside town on the Bay of Naples just a few miles north of Pompeii. Like Pompeii, Herculaneum was destroyed by the eruption of nearby Mt. Vesuvius on August 24, 79 C.E. The House of the Stags was named after two sculptures of stags (or male deer) found in its peristyle garden (a peristyle is a row of columns surrounding the perimeter of building or a courtyard). It was among the fanciest houses in town, oriented to take full advantage of Herculaneum\u2019s panoramic sea view. Archaeologists believe that the house was owned by the wealthy merchant Q. Granius Verus since his stamp was discovered on a loaf of bread, amazingly preserved by the volcanic ash, unearthed in the house. (Stamping bread was a common practice because Roman houses, unlike most modern houses, did not have private ovens. Ovens were dangerous and hot so most Romans took their bread out for baking after preparing the dough at home. You stamped your loaf so it would not get mixed up in the ovens or claimed by someone else.)<\/div>\r\n<\/div>\r\n
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House of the Stags, Herculanum (photo:\u00a0Cornell University<\/a>)<\/h4>\r\n
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We cannot be sure whether the family of the Granii were the original builders of the house (likely during the reign of the emperor Claudius, from 41-54 C.E.) but they seem likely to have undertaken a major renovation not long before Mt. Vesuvius erupted. In the years immediately preceding the destruction of Herculaneum, all 25 rooms in the House of the Stags were repaired and redecorated in the newest style of painting\u2014the Fourth Style; only the old atrium, with its historic frescoes, remained untouched as a sign of the house\u2019s historic importance. So, although the house survives today only as a ruin, when the Granii family woke up on that fateful morning in 79 C.E., they would have experienced a home resplendent with freshly painted walls and colorful mosaic floors, terrace fountains filling the spaces with the sound of trickling water, and gardens filling the house with wafts of sweet fragrance carried in by the sea air. It is too bad the day did not end as nicely.<\/div>\r\n<\/div>\r\n
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Still Life with Peaches and Water Jar<\/em>, detail of a Fourth Style wall painting from Herculaneum, Italy, c. 62-69 C.E., fresco, 14 x 13 1\/2 inches (Archaeological Museum, Naples<\/a>)<\/h4>\r\n
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Still Life with Peaches and Water Jar<\/em>\u00a0was one small part of this house\u2019s decorative scheme, not meant to be seen in isolation. It was part of a series of at least ten roughly-square still-life compositions, painted together in a row, sharing decorative borders. This series of paintings presents a variety of fruits, crustaceans, fish, fowl, meats, vegetables, and drinking vessels set against a neutral brown background, sometimes with a step, shelf or wall niche on which the artist arranged the display.<\/div>\r\n
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Still Life with Peaches and Water Jar<\/em>\u00a0features five unripe peaches (one only barely formed), their branch cascading off a shelf, and a glass jar of water in the foreground. One of the peaches has been pulled from the branch and bitten open, revealing a reddish pit and white flesh that contrast sharply against its yellow-green skin. The glass jar shows the artist\u2019s ability to register two types of transparency at once: the clear glass vessel and the clear liquid that it contains. While the patron may have wanted the glass, among the most expensive luxuries in Roman Italy, included as a display of their wealth, the artist turned it into an opportunity to demonstrate his skill at depicting these visually complex attributes in perspective.<\/div>\r\n<\/div>\r\n<\/div>\r\n<\/div>\r\n
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Xenia (hospitality)<\/h3>\r\n<\/div>\r\n
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Still Life with Peaches and Water Jar<\/em>, like the small scenes that accompanied it, belongs to a category of still life paintings known as\u00a0xenia<\/em>, drawing on the Greek word for \u201cguest-friendship\u201d or hospitality.\u00a0Xenia<\/em>\u00a0(hospitality) was shown to guests who were far from home by accommodating them and by presenting them with the means to be comfortable (a bed, food, a bath, etc.). This was not just a matter of being polite, but was considered a religious obligation for the Greeks\u2014an idea preserved in both Homeric epic and mythology. The Greeks believed that Zeus Xenios, Zeus\u2019s role as protector of guests, wandered in disguise with travelers, testing the capacity of hosts to be generous and tolerant. Although the devotion with which the Greeks pursued the quality of\u00a0xenia<\/em>\u00a0was not matched by the Romans, the Romans nevertheless took pride in their ability to provide hospitality to guests, especially those whose social favor they wanted to earn (those who were more wealthy and socially important).\u00a0Xenia<\/em>, for the Romans, was more about the display of hospitality for appearance\u2019s sake than it was a religious devotion.<\/div>\r\n
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Still Life with Hen<\/em>\u00a0(left),\u00a0Still Life with Two Cuttlefish, a Silver Jug, Bird, Shells, Snails and Lobster<\/em>\u00a0(center), and\u00a0Still-life with a Hare and Grapes<\/em>(right), Fourth Style wall painting from Herculaneum, Italy, c. 62-69 C.E., fresco, 14 x 13 1\/2 inches (Archaeological Museum, Naples<\/a>)<\/h4>\r\n
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The small\u00a0xenia<\/em>\u00a0paintings at the House of the Stags are not unusual; many rich houses, especially houses and villas located along the coast where visitors from Rome might want to travel to escape the summer heat (or political turmoil), were outfitted with special guest quarters.\u00a0Xenia<\/em>\u00a0paintings are frequently found in these rooms, announcing to these guests that they would be lavished with the finest foods and service wear while in the house. The ancient Roman architect Vitruvius suggested that the\u00a0xenia<\/em>\u00a0include, in particular, \u201cpoultry, eggs, vegetables, and other country produce\u201d as a way to highlight the experience of getting out of the city and into the countryside (de Architectura<\/em>\u00a0VI.7.4). The\u00a0xenia<\/em>\u00a0at the House of the Stags, as Vitruvius might have liked, present fruits and fish (known as area specialties) along with the standard fare.<\/div>\r\n
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Still-Life with Chicken and Hare<\/em>\u00a0(left),\u00a0Still Life with Partridge, Pomegranate and Apple<\/em>\u00a0(second from let),\u00a0Still Life with Thrushes and Mushrooms<\/em>\u00a0(third from left),\u00a0Still-Life with Partridges and Eels<\/em>\u00a0(far right), Fourth Style wall painting from Herculaneum, Italy, c. 62-69 C.E., fresco, 14 x 13 1\/2 inches (Archaeological Museum, Naples<\/a>)<\/h4>\r\n
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Xenia<\/em>\u00a0paintings or mosaics also appear in more public areas of houses where clients (people who depend on the homeowner\u2019s business) and less-wealthy visitors might see them. In these cases, the\u00a0xenia<\/em>\u00a0spoke to the wealth of the family, and the level of generosity that they could afford to show to those lucky enough to be invited (even if the viewers did not belong to that chosen group). I suspect that my mother had a different idea when sending me with hostess gifts: more an apology for whatever trouble I might get in than a display of wealth and social importance. Still, her insistence that I present myself with hostess gift in hand demonstrates that showing our best and accommodating guests with grace has never gone out of style.<\/div>\r\n<\/div>\r\n<\/div>\r\n<\/div>\r\n
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Still Life with Peaches and Water Jar<\/em>\u00a0(left),\u00a0Still Life with a Silver Tray with Prunes, Dried figs, Dates and Glass of Wine<\/em>\u00a0(center), and\u00a0Still Life with Branch of Peaches<\/em>, Fourth Style wall painting from Herculaneum, Italy, c. 62-69 C.E., fresco, 14 x 13 1\/2 inches (Archaeological Museum, Naples<\/a>)<\/h4>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n
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Hostess Gifts<\/h3>\n<\/div>\n
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When I was growing up, my (proper, Southern) mother always insisted that I bring a hostess gift (something brought to the host by a guest) to my friend\u2019s parents when I spent the night at their house. A typical teenager, I thought she was annoyingly old fashioned. This painting, Still Life with Peaches and Water Jar, proves that she was old fashioned\u2026really old fashioned. It turns out that the practice of presenting hostess gifts dates back to the ancient Greeks; in antiquity, though, it was the host\u2014not the guest\u2014who presented the gifts. This small fresco is an example of how the Romans played the hostess game and how this generosity was captured by ancient Roman artists.<\/div>\n<\/div>\n
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House of the Stags, Herculaneum<\/h3>\n<\/div>\n
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Archaeologists discovered\u00a0Still Life with Peaches and Water Jar<\/em>\u00a0in the House of the Stags in Herculaneum, once a wealthy, seaside town on the Bay of Naples just a few miles north of Pompeii. Like Pompeii, Herculaneum was destroyed by the eruption of nearby Mt. Vesuvius on August 24, 79 C.E. The House of the Stags was named after two sculptures of stags (or male deer) found in its peristyle garden (a peristyle is a row of columns surrounding the perimeter of building or a courtyard). It was among the fanciest houses in town, oriented to take full advantage of Herculaneum\u2019s panoramic sea view. Archaeologists believe that the house was owned by the wealthy merchant Q. Granius Verus since his stamp was discovered on a loaf of bread, amazingly preserved by the volcanic ash, unearthed in the house. (Stamping bread was a common practice because Roman houses, unlike most modern houses, did not have private ovens. Ovens were dangerous and hot so most Romans took their bread out for baking after preparing the dough at home. You stamped your loaf so it would not get mixed up in the ovens or claimed by someone else.)<\/div>\n<\/div>\n
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House of the Stags, Herculanum (photo:\u00a0Cornell University<\/a>)<\/h4>\n
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We cannot be sure whether the family of the Granii were the original builders of the house (likely during the reign of the emperor Claudius, from 41-54 C.E.) but they seem likely to have undertaken a major renovation not long before Mt. Vesuvius erupted. In the years immediately preceding the destruction of Herculaneum, all 25 rooms in the House of the Stags were repaired and redecorated in the newest style of painting\u2014the Fourth Style; only the old atrium, with its historic frescoes, remained untouched as a sign of the house\u2019s historic importance. So, although the house survives today only as a ruin, when the Granii family woke up on that fateful morning in 79 C.E., they would have experienced a home resplendent with freshly painted walls and colorful mosaic floors, terrace fountains filling the spaces with the sound of trickling water, and gardens filling the house with wafts of sweet fragrance carried in by the sea air. It is too bad the day did not end as nicely.<\/div>\n<\/div>\n
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Still Life with Peaches and Water Jar<\/em>, detail of a Fourth Style wall painting from Herculaneum, Italy, c. 62-69 C.E., fresco, 14 x 13 1\/2 inches (Archaeological Museum, Naples<\/a>)<\/h4>\n
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Still Life with Peaches and Water Jar<\/em>\u00a0was one small part of this house\u2019s decorative scheme, not meant to be seen in isolation. It was part of a series of at least ten roughly-square still-life compositions, painted together in a row, sharing decorative borders. This series of paintings presents a variety of fruits, crustaceans, fish, fowl, meats, vegetables, and drinking vessels set against a neutral brown background, sometimes with a step, shelf or wall niche on which the artist arranged the display.<\/div>\n
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Still Life with Peaches and Water Jar<\/em>\u00a0features five unripe peaches (one only barely formed), their branch cascading off a shelf, and a glass jar of water in the foreground. One of the peaches has been pulled from the branch and bitten open, revealing a reddish pit and white flesh that contrast sharply against its yellow-green skin. The glass jar shows the artist\u2019s ability to register two types of transparency at once: the clear glass vessel and the clear liquid that it contains. While the patron may have wanted the glass, among the most expensive luxuries in Roman Italy, included as a display of their wealth, the artist turned it into an opportunity to demonstrate his skill at depicting these visually complex attributes in perspective.<\/div>\n<\/div>\n<\/div>\n<\/div>\n
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Xenia (hospitality)<\/h3>\n<\/div>\n
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Still Life with Peaches and Water Jar<\/em>, like the small scenes that accompanied it, belongs to a category of still life paintings known as\u00a0xenia<\/em>, drawing on the Greek word for \u201cguest-friendship\u201d or hospitality.\u00a0Xenia<\/em>\u00a0(hospitality) was shown to guests who were far from home by accommodating them and by presenting them with the means to be comfortable (a bed, food, a bath, etc.). This was not just a matter of being polite, but was considered a religious obligation for the Greeks\u2014an idea preserved in both Homeric epic and mythology. The Greeks believed that Zeus Xenios, Zeus\u2019s role as protector of guests, wandered in disguise with travelers, testing the capacity of hosts to be generous and tolerant. Although the devotion with which the Greeks pursued the quality of\u00a0xenia<\/em>\u00a0was not matched by the Romans, the Romans nevertheless took pride in their ability to provide hospitality to guests, especially those whose social favor they wanted to earn (those who were more wealthy and socially important).\u00a0Xenia<\/em>, for the Romans, was more about the display of hospitality for appearance\u2019s sake than it was a religious devotion.<\/div>\n
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Still Life with Hen<\/em>\u00a0(left),\u00a0Still Life with Two Cuttlefish, a Silver Jug, Bird, Shells, Snails and Lobster<\/em>\u00a0(center), and\u00a0Still-life with a Hare and Grapes<\/em>(right), Fourth Style wall painting from Herculaneum, Italy, c. 62-69 C.E., fresco, 14 x 13 1\/2 inches (Archaeological Museum, Naples<\/a>)<\/h4>\n
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The small\u00a0xenia<\/em>\u00a0paintings at the House of the Stags are not unusual; many rich houses, especially houses and villas located along the coast where visitors from Rome might want to travel to escape the summer heat (or political turmoil), were outfitted with special guest quarters.\u00a0Xenia<\/em>\u00a0paintings are frequently found in these rooms, announcing to these guests that they would be lavished with the finest foods and service wear while in the house. The ancient Roman architect Vitruvius suggested that the\u00a0xenia<\/em>\u00a0include, in particular, \u201cpoultry, eggs, vegetables, and other country produce\u201d as a way to highlight the experience of getting out of the city and into the countryside (de Architectura<\/em>\u00a0VI.7.4). The\u00a0xenia<\/em>\u00a0at the House of the Stags, as Vitruvius might have liked, present fruits and fish (known as area specialties) along with the standard fare.<\/div>\n
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Still-Life with Chicken and Hare<\/em>\u00a0(left),\u00a0Still Life with Partridge, Pomegranate and Apple<\/em>\u00a0(second from let),\u00a0Still Life with Thrushes and Mushrooms<\/em>\u00a0(third from left),\u00a0Still-Life with Partridges and Eels<\/em>\u00a0(far right), Fourth Style wall painting from Herculaneum, Italy, c. 62-69 C.E., fresco, 14 x 13 1\/2 inches (Archaeological Museum, Naples<\/a>)<\/h4>\n
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Xenia<\/em>\u00a0paintings or mosaics also appear in more public areas of houses where clients (people who depend on the homeowner\u2019s business) and less-wealthy visitors might see them. In these cases, the\u00a0xenia<\/em>\u00a0spoke to the wealth of the family, and the level of generosity that they could afford to show to those lucky enough to be invited (even if the viewers did not belong to that chosen group). I suspect that my mother had a different idea when sending me with hostess gifts: more an apology for whatever trouble I might get in than a display of wealth and social importance. Still, her insistence that I present myself with hostess gift in hand demonstrates that showing our best and accommodating guests with grace has never gone out of style.<\/div>\n<\/div>\n<\/div>\n<\/div>\n
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Candela Citations<\/h3>\n\t\t\t\t\t
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CC licensed content, Shared previously<\/div>