ABSTRACT
The Villa at Oplontis exemplifies the principle of 'correlation' between architecture and painting: perspectives seen in the constructed spaces and gardens persistently reappeared painted on walls. In the House of Jason, one sees not just how painted architecture transformed the space of the spectator, but also how it activated the memory of other places by allowing illusory access to key moments of well-known stories. The experience of walking through the House of Jason was mediated by the careful placement of colour fields and of panels that were hidden or revealed according to the viewer's tempos and positions within the house. The chapter suggests that the Roman frescoes resembling later Western paintings may employ similar Euclidean principles, but that their inception and subsequent perception involved movement of the body. Both Magritte and the Roman muralist produced visual correlations among distinct kinds of objects and, with them, novel analogies in viewers' minds.
