THE INSULA OF THE MENANDER AT POMPEII. VOLUME IV: THE SILVER TREASURE

private contexts at Pompeii. Elizabeth de Grummond suggests a reading of the frieze in the light of Bacchic rituals depicted on relief sarcophagi. Subsequent chapters focus on the artistic context, introduced by Jessica Davis's review of the debate about the originality of the frieze and its relationship to Greek sources; her conclusion, that the frieze is an original creation drawing on a widely circulated repertoire of stock figure-types, underlies the approach of the whole volume. The two chapters which follow examine individual elements of this repertoire: Shoshanna Kirk finds allusions to nuptial imagery in the frieze, drawing comparisons with wedding scenes on south Italian red-figure and Centuripe pottery; and Brenda Longfellow argues for the identification of Dionysos' consort as Venus, on the grounds that decorative motifs related to both Dionysos and Venus can be observed throughout the villa. A sceptical reader might remain unconvinced, as the interior decor of most houses in this period is dominated by motifs that can be linked to one or other of these deities; but the same author's earlier discussion of the architectural setting of the frieze is more illuminating, making subtle use of Bill Hillier and Julienne Hanson's 'space syntax' theory to characterize the painted room as remote within the villa, and therefore reserved for special occasions of some sort. The final chapters bring us into the modern world. Elizabeth de Grummond outlines the career of Maria Barosso and the circumstances surrounding Kelsey's commission. Barosso's longneglected work is an important record of the state of the frieze soon after its discovery, but sadly her manuscript of technical observations on the frescoes, compiled as she painted and intended for publication, went astray before it reached Ann Arbor; it might have yielded unique insights into the ancient artist's working methods and style. As well as material from the ancient world, the exhibition included a number of recent artworks inspired by the Mysteries frieze. Patricia Olson, Ruth Weisberg, and Sarah Belchetz-Swenson were attracted by the theme of feminine initiation, and updated the fresco cycle to reflect on their own experiences, creating sequences of paintings that depict modern women in poses echoing the ancient figures. The other artists in the exhibition, Eleanor Rappe, Katte Tomka, and Wes Christensen, use the frescoes more loosely as a starting-point for their work, 'quoting' details or even colours. The rich and varied responses of modern artists to the frieze are a fitting celebration of its enduring power to intrigue and inspire.