The rendering of space by the Romans, particularly those derived from stagescenes and displaying perspective effects involving architectural simulationhave generated much heated debate, but the discussions have mostly centeredaround how far the ancients comprehended the optics of linear perspective.In the paper, the problem is examined in architectural contexts only. Itsmetamorphic implications in the definition of experienced space are ex-plained in order to provide and additional index to make a case for the evalu-ation and discussion of the space consciousness of a society customarilycredited with the creation of spacious interiors on a monumental scale.This paper claims that regardless of the degree of understanding the under-lying scientific principles during Roman antiquity, the important issue isthat the ancients attempted it since the depiction of space is not only a mat-ter of ability, nor even an awareness but it involves a preference-dictatedby a cultural identity, bias, or change of preference from previous modes to do so. Illusionistic effects and the illusion of reality are known to have existed inGreek painting. However, Romans break new ground in depictions of contin-uous narratives which is not characteristic of earlier Greek models. In theexamples illustrated in the paper, not only is the visual field deepened butand experiential component of the present is incorporated to enhance the in-terior-ness of spaces. Two ways of activating the kinetic dynamics of Romanspace are singled out for discussion: spaces with the function of passage andenclosed spaces. In both of them, the reading of the space is not limited byphysical boundaries. Beyond the trompe I'oeil effects of architectural fan-tasies, there is an attempt to dissolve the physical boundary of the wall byobjectifying depicted space and creating a new limit of controlled space. Thusthe 'real' space merges with the imaginary space with the result of and ex-trapolated spatial experince. This quality is emphasized further by using forthe suject of the depiction activities related to those that take place in thespace in question i.e. the frenzy of initation rites in a room for cult initiates(Villa of the Mysteries, Pompeii) or the triumphal passage through an archfor the inner surface of a triumphal arch which is parallel to the actualprocession that would proceed through it during ceremonies (Arch of Titus,Rome). When this is considered in relation to the Roman emphasis on sumptuous in-teriors- a mentality that turned outside in the Greek preoccupation witheye-catching exterior surfaces - it is not at all suprising to observe theutilization of a space within a space, very often a small one, for and overallricher and more spacious effect. The paper proposes the rendering of spaceby Roman artists and architects as an example of the historcial transforma-tion of space-representing a cultural phenomenon beyond the paradigms,