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few referencesto Romanpaintingin ancientliteratureusually concernportable exampleson materials such as woodand ivory.Becausetheseworks havenotsurvived, theRoman painters mosthighlypraised in antiquity have passedinto obscurity. Duringthe late Republic, portrait painters like Iaiaof Kyzikos (late2nd-early 1stcenturyB.C.) commanded highprices, according to Pliny, highereventhan"themostcelebrated painters of the sameperiod,Sopolisand Dionysios." So too we readin Plinythat Arellius,who workedat the end of the firstcenturyB.C., was highlyesteemedand wouldhavebeen moreso but for his regrettable habitof portraying goddesses in the imageof his mistresses. The sameauthoralsotells us that the emperorAugustusexhibitedtwo paintingsin his forum:the Visageof Warand Triumph. He displayed other paintings in the Forumof JuliusCaesar, his adoptivefather,and it is clearthatthe mediumwasused for propaganda and warreportage as wellas for decoration. The Romanpaintings thathavesurvived are in the durablemediumof fresco,usedto adornthe interiors of private homesin the Roman citiesand in the countryside. According to Pliny, it wasStudius"whofirstinstituted that most delightfultechniqueof paintingwallswith representations of villas, porticoes andlandscape gardens, woods,groves, hills,pools,channels,
3

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loomsat the lett behind 2. MountVesuvius commercial center, the theruinso+Pompeii's Forum. From AmedeoMaiuri, Pompeii (Rome, 1929), illus.p. 25.

for the thatStudius wasresponsible Somehavespeculated rivers, coastlines." in 19 B.C. completed in Rome,probably decoration of the VillaFarnesina, to Julia, daughterof the emperor marriage on the occasionof Agrippa's Augustus. evidence,we can assumethat some portable Despitea lackof physical paintingsdepictedthe same subjectsthat are found on paintedwallsin to supposethatRomanpanelpaintings, Roman villas.It is evenreasonable and adaptations of renownedlate whichincludedboth originalcreations in frescoes: subjects for the mostpopular Greekworks, werethe prototypes and Perseusand Andromeda, and Galatea, the Fallof Icarus,Polyphemus in thatartistsfrom Romespecializing the Deathof Actaeon.It is probable thatreproduced to otherpartsof Italywithcopybooks frescooftentraveled elements patterns. The decorative as wellas ornamental popularpaintings and in the regionof Naplesmakethis sharedby certainvillasin the capital explanation all but certain. The richest concentrationof survivingfrescoes has been found in on Campania, the regionaroundNaples.The eruptionof MountVesuvius the volsurrounding August24, A.D. 79, buriedmuchof the countryside aswellasdozensof and Herculaneum, cano,including the citiesof Pompeii

private residences nearby.As so often happens in archaeology,a disaster served to freeze a moment in the past and allowed excavatorsfrom the eighteenth century onward to delve into the life of the region's ancient inhabitants. The many examples of fresco painting that have survived as a result of the eruption of Vesuviusare nevertheless but a fraction of what existed in the Roman world. Pompeii was not even among the thirty greatest cities of the Roman Empire. Thus with each discoveryin the Vesuvianregion or in Rome, scholarsare forced to rethink issues related to chronology and style. Because of two major acquisitionsmade early in this century,the Metropolitan Museum has the finest collection of Roman frescoes outside of Italy. Sectionsof painted walls from villasof the first century B.C. in the Neapolitan suburbsof Boscoreale and Boscotrecasewere purchased and exported with the permission of the Italian government in 1903 and 1920 respectively.In the caseof the second group of paintings,discoveredin Boscotrecase in 1903 and acquiredin 1920, the sequence of events was fortunate indeed, for had the paintings not been removed from their original context and offered for sale, they might well have been lost forever during the 1906 eruption of Mount Vesuvius.

3. Thevillaso+Boscoreale andBoscotrecase werelocated northo+Pompeii and wereburiedduringtheeruption o+Mount Vesuvius in A.D. 79.

recordof the The paintedwallsof Romanvillasprovidean unparalleled ago. They are not only of the well-to-do two millennia life and worldview the physicalremainsof a site, but also mirrorsof the Romans'cultural Romanhousesseemto have Frescoed wallsin private andartistic concerns. decorative, only rarelyappearingto have served been almostexclusively a culticor religiouspurpose. weredeeplyindebtedto the magnificent It is a truismthatthe Romans to paintings are often presumed legacyof Greekculture.Romannarrative periods,yet whenthey and Hellenistic copyworksfromthe GreekClassical are themespopularin the Greekworld,the paintings includemythological of earlierworks.We must revariations often casualand sentimentalized fascinaarthada historical patrons, as forus, Greek member thatfor Roman as the "ancients." The gap between tion;Latinauthorsrefer to the Greeks of the firstcentury centuryB.C. andthe Romans the Greeks of the mid-fifth and the Beaux-Arts the High Renaissance B.C. wasas greatas thatbetween periodof the late nineteenthcentury. villasof the firstcenturiesB.C. of Romanand Pompeian Our knowledge in the lastdecadeand a half throughsysand A.D. hasgrownconsiderably eleand study.It has becomeclearthat the decorative tematicexcavation ments of these privatehomes are more profitablyconsideredin their historical settingthan as echoes of lost Hellenistic(late 4th-lst century fascination with greatancient The nineteenth-century B.C.) masterpieces. scholarly yielded to a more objective cultural impulses has artists andshadowy method,which seeks to examineeach period and place as a particular milieuthatdrewto a greateror lesserextentfrom the past.It has become 4. The entrancevestibuleof the Samnite settingin Romanterms as a place of a Romanprivate possible to conceive displays typical decoHouseat Herculaneum declived in roomswithelaborately patrons who designed for first-century wallpaintrationof theFirstStyleof Roman oratedwalls,ceilings,floors,and furnishings. bya stucco ing, withan upperzonecrowned of Romanpaintingin four styleswasdiscernedby AuA development central and lower zones molding andpainted of 1882.AlthoughMau's seminal studyof Romanpainting gust Mau in his slabs. simulating colored-marble sound, recent researchhas revealedfrequentresystemis still basically of the progression vivalsof stylesin laterperiods,leadingto qualifications 5. An example of First Stylepainting,this fragment (30.142.5) in the Metropolitan described by Mau.The FirstStyle(ca.200-60 B.C.) waslargelyan exploraMuseum simulatesmarble. A comparable tion of the possibilities marbleof various colorsand typeson of simulating excavated in Turkey at fragment wasrecently paintedplaster.Artistsof the late Republic(2nd-lst centuryB.C.) drew maydate fromthe thesiteof Priene,and both and of earlyHellenistic (late4th-3rd centuryB.C.) painting uponexamples early f rstcentury B. C. architecture in order to simulatemasonrywalls.The wall was routinely wascrowned painted zones,andtheuppermost divided intothreehorizontal order by a stuccocorniceof dentils,based upon the Doric architectural floorsof thisperiodweremoreornatethanthe (fig.4). In generalthemosaic walls,whichlackedfiguraldecoration. of The declineof the FirstStylecoincidedwiththe Romancolonization been an Italic whathad essentially Pompeiiin 80 B.C., whichtransformed townwith Greekinfluencesinto a Romancity.Goingbeyondthe simple fromthe figartists borrowed of costlier buildingmaterials, representation of Hellenistic Greekwallpaintingto depictgods, mortals, uralrepertoire of the late marble portraits contexts. The stern-faced andheroesin various one to imaginethatit wasa timeof greatausterity Republic mightmislead age, but it wasin in contrast to the splendorand opulenceof the imperial of extravagant and populatedby art collectors fact as sociallyvariegated tasteas thatwhichfollowed.
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In the earliest phase of the Second Style, prior to the middle of the first century B.C., the masonrywall of FirstStyle painting endured, but columns appeared to break through the picture plane in an imaginaryforeground. The next phase is found in both the Villa of the Mysteriesnear Pompeii (ca.60 B.C.; fig. 7) and the Villaof PubliusFanniusSynistorat Boscoreale(ca. 50-40 B.C.). The panels from Boscoreale,as we shall see, are an exceptional example of late Second Style decoration, teasing the eye with perspectival recessionand providingcopiesof lostbut presumably once-famousHellenistic paintings. In the architecturalvistas,deeply receding colonnades and projectionsof column basesinto the viewer'sspacebecamecommonplace.Often the wall was no longer acknowledgedand simply embellished, as had been the tendency in the First Style, but was instead painted in such a way as to seem knee-high. We are encouraged to look above this socle, the only barrier before us, and out into fantastic panoramas or architecturalconfections (see figs. 27, 28). The fact that the viewer's eye was methodically tricked on such a scale gives us insight into the nature and extent of aesthetic refinement ln the art of the late Roman Republic. In the Second Style copies of earlier paintings,as in the Boscorealepaintings of Room H, the intention was to create a picture gallery,of the kind we read about in ancient literature, that displayed elaborate reproductions of famous Hellenisticworks(fig.32). The combinationof paintingsin a gallery was occasionallymeaningful, as in the religious cycle of the Villa of the Mysteries, and occasionally haphazard,as in Boscoreale's Room H. At Boscoreale, the connection among some paintings is no greater than we would expect to find in a well-appointedresidence of the nineteenth century; the choice of subjectsappears to have been based on the qualityand renown of the original pictures rather than some mysteriousthread of meaning. With the politicaltransitionfrom Julius Caesar'srule to that of Emperor Augustus (r. 27 B.C.-A.D. 14) in the second half of the first century B.C., sweeping artistic changes were introduced. When Octavian (later named

of reli6. Thisroom, paintedwitha variety giousand culticscenes,gave the Villaof the Mysteries, nearPompeii, its name.Thelarge Style. f guresare characteristic of theSecond 7. Bedroom B of the Villa of the Mysteries Styletrompe l'oeil givesan example of Second in its depiction of a roundtemplebehinda columns. marble-faced wall and Corinthian

8,9. Below:The alcoveof the VillaFarnefor Agrippaand sina in Rome,constructed the last decorated about19 B.C., epitomizes phaseof the SecondStylein the diminished sizeof thecentral painting,whichrepresents the nymphLeucotheacradling the infant Dionysos. From Museo Nazionale Romano: 1982), pl. 62. Center: In Le Pitture (Rome, a ThirdStylewall of thediningroomof the periodCasadei Cubicoli probably Augustan thepaintingof Odysseus Floreali at Pompeii, simply one component at the left has become scheme. The dining of the wholedecorative closely on Bedroom 15 room seems to depend of theimperial villa at Boscotrecase.

Augustus) defeatedMarkAntonyat the Battleof Actiumin 31 B.C., there followeda trend towardopulencein publicmonuments,epitomizedby that he had found Romea cityof brickand left it Augustus's declaration waseschewed in elaboration Duringmuchof the Republic, a cityof marble. climateenbut in the earlyEmpire,a changein political publicbuildings, Roman of whatwasuniquely celebration couraged bothpublicand private artistic traditions. in art ratherthan purelyGreek-inspired asUnder Augustus,a new impulseto innovate,ratherthan re-create, and other artsas well. Augustus portraiture, serteditself in architecture, Order, order,theComposite of a newarchitectural oversaw thedevelopment andwasfirstapparent formswithRomaninnovations whichmixedclassical to officialporin the Forumof Augustusin Rome(19 B.C.). His approach by his portraiture, is exemplified influenced private traiture, whichquickly The Vatican statuefromPrimaPorta(ca.20-17 B.C.; MuseoChiaramonti, andHellenclassicism workfusesfifth-century Museums). Thismagnificent isticidealism, and suggestsby the calmvisageof the emperor,clad in the generalbut barefootlike a deity,the securityand armorof a victorious prosperity that his reignwouldguarantee. withAugustus's Duringthe Third Style(ca.20 B.C.-A.D. 20), coincident alsochangedabruptly. matter andstyleof frescopainting reign,the subject to Augustus of this new style mayin partbe attributed The introduction many andAgrippa, hisclosefriendanda patronof the arts,whosponsored

publicbuildings, such as the Pantheon in Rome. In fact, Agrippa'sown villa in Rome, the Villa Farnesina(ca. 19 B.C.; fig. 8), anticipatedthe Third Style. During this new phase of muraldecoration,wallsoften had a single monochrome background color such as red, black, or white and were decorated with elaborate architectural,vegetal, and figural details. These drew upon familiar forms, including mythicalbeasts like sirens and griffins, but the original mythologicalsymbolismof such animals seems to have been of practicallyno interest to the artists,who treated them as decorativedevices. In decorativearts, the same basic indifference to subjectmatter was characteristicof the so-calledNeo-Atticmovement,whichbegan to serve the Roman appetite for classicizingstyle as early as the late second century B.C. and was especially popular during the Augustan period. Additional evidence of this primarily decorative, rather than symbolic, approach to wall painting is the fact that the multiplicityof figural scenes characteristicof the Second Style ended, and only a few stock scenes were used. These usually appeared in the center of the wall. As in the Second Style, they may be understood to serve as the equivalent of framed paintings, in which figures and landscapes were shown in fairly natural spatial perspective.These later paintings lose the importance they had earlier enjoyed, however,and are only a part, not the dominant element, in the overall decorative scheme. The paintings' subjects, which during the Second Style had begun to matter less than the fame of the works copied, became

10. The paintingsof the ThirdStyle Villa (ca. 12 .c.) showcareImperiale at Pompeii to detailand havemuchin comful attention from Boscotrecase. Here an mon with those incenseburnerrises in front of a delicately andfantastic architecturalfeadescribedfrieze sideof the tures.Thesmallpaintingsto either are subordinated to the other incenseburner decorative elements.

11,12. Above: In a detailof thenorth wallr theBlackRoom JromBoscotrecase, Egyptian figures propitiate thedeity Anubis in thetorm ofajackal. Below: A similar scene witha crocodileis part r a predella in the ThirdStyle tablinum, or vestibule, in the Villa rthe

Mysteries. Augustus's deteatr Antonyand Cleopatra gave Egyptianizing motifsa symboliccharacter in Boscotrecase's imperial residence; in a privatehome suchas theVillar theMysteries theymerely refected thetaster theday.(Seealsofig. 48.)

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less significant than the harmony of the paintings with the surrounding sections of the wall, the ceiling, and the mosaic floor. Interest in reproducing famous Hellenistic masterpiecesand portraying elaborate vistaswasreplacedby an acknowledgment of the two-dimensionality of the wall'spainted surface. Third Style artistswere preoccupied with artistic form rather than content and no longer fascinated with simulating depth. Although very skilled technically,they eschewed the perspectivalexaggerationsof the preceding style, except to poke fun at them, as on the northwallof Boscotrecase's BlackRoom (ca. 11 B.C.; figs.47-50, backcovers). Here the Second Style'sdistantlandscapesseen through massivepediments are parodiedby a miniaturepainting of a landscapeon the wall not in the distance and a spindly canopy barely protruding into the viewer'sspace. The Metropolitan'spaintings from the imperial villa at Boscotrecaseare among the finest anywhereof the Third Style, in some waysthe most revolutionaryphase because its insistent two-dimensionalityreflects a moment when artistsreactedagainsttraditionratherthan builtupon it. This impulse, which is familiarto students of modern painting, was rarely attested in the history of the classicalworld. It wasin large measure the perspectivalconceits and playful attitude governing the late Second and Third Styles that prompted the condemnation of Vitruvius,the late first-centuryB.C. architectand writer. In one passage of his book De Architectura,Vitruvius laments:
Imitationsbased upon realityare now disdained by the improper taste of the present.... Instead of columns there rise up stalks;instead of gables, striped panelswithcurled leavesand volutes. Candelabrauphold picturedshrinesand above the summitsof these, clusters of thin stalksrise from their roots in tendrils with little figures seated upon them at random.... Slender stalks with heads of men and of animals [are] attached to half the body. Such things neither are, nor can be, nor have been.... For how can a reed actuallysustain a roof, or a candelabrumthe ornaments of a gable?.... For pictures cannot be approved which do not resemble reality.(7.5.3,4)

13,14. The landscape from the east wall of theBoscotrecase villa'sBlackRoom(above) mayhave inspireda landscape of identical size in Pompeii's Casa dei Cubicoli Floreali (below). Thescene in eachshows a two-column structure neara tree,withfiguresapproaching theapparent sceneof sacrifice.

The crusty rhetoric of Vitruvius'sconservativevoice echoed Republican distaste for the novel artisticdirection taken during the monarchy of Augustus, but the early Third Style, which was in effect the court style of the emperor Augustus and his friend Agrippa, eventuallygave way to a rekindled interest in elaborationfor its own sake. The color palette of the Third Style also evolved, so that the initial stark and restrained red, white, and blackbackgroundseventuallychanged to green, blue, and yellow.This progression signaled a gradual revival of the ostentation and flourish of late Republicantaste. During the Fourth Style (ca. A.D. 20-79) there was a revivalof interest in the simulationof depth on the painted wall and the depiction of fantastic panoramas,as well as a revivedemphasison narrativepainting. In theJulioClaudianphase of this style (ca. A.D. 20-54), a textilelike quality dominates and tendrils seem to connect all of the elements on a wall. The colors warm up once again, and they are used to advantage in the depiction of scenes drawn from mythology.A second subtype of the Fourth Style involves a flattening of the picture plane once more, and a third introduces a complete blanketing of the wall with painted images, a manifestation of the amorpleni (love of abundance)that is typicalof contemporaryFlavian(A.D. 69-96) architecturalsculpture and decoration.
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enterprise. Wall The decoration of a Romanvillawasa highlyorganized systems of proplannedin advance withintricate paintings werecarefully interiors wereprobhintedat by Vitruvius. Private portions and geometry, whospecialized in in itinerant workshops ablya cooperative effortof artists stucco landscapes, and figures,moldingelaborate paintingbackgrounds, in conjunction with cornicesand ceilings,and creatingmosaicpavements the wallpaintings. artists is in Pliny's of Roman Someof the bestevidencefor the techniques Vitruvius describes manual DeArchitectura. NaturalHistory andin Vitruvius's including the insertion of employed bywallpainters, theelaborate methods actionof moisturefrom sheetsof lead in the wallto preventthe capillary of as manyas sevenlayersof plaster attacking the fresco,the preparation to help produce powder in the top layers on the wall,andthe use of marble a mirrorlike sheen on the surface.Sectionsof each roomwere paintedat differenttimes,and the edges of each section(or giornata,meaningthe extentof a day'swork)are faintlyvisibleon the surface.It seemsthatpreliminary drawings or light incisionson the preparedsurfaceguided the withstrongprimary artists in decorating the wallsafresco(on freshplaster) often addeda secco(on dry plascolors;the lightercolorswereapparently deter) in a subsequent phase,althoughthereis vigorousand continuing bateaboutthe exactmethodsof Romanpainters. us aboutthecolorsusedbyRoman Vitruvius is helpfulaswellin informing drawnfrom the carboncreatedby muralpainters.Blackwas essentially or pine chips. Ocherwas extractedfrom minesand burningbrushwood red ocher,or servedfor yellow.Redswerederivedeitherfrom cinnabar, from heatingwhitelead. Bluesweremade from mixingsandand copper and bakingthe mixture.The deepestpurplewasby far the mostprecious alsodescribes less seawhelks, butVitruvius color,sinceit camefromcertain chalk withberries. purplepigment bydyeing expensive methods of obtaining B.C. and A.D. often had morethan AffluentRomans of the firstcenturies villa,andthoseof a housein thecityanda country one residence, including a higherstation,like senatorsand knights,frequentlyhad severalvillas. and furnishing of these The expenditure of vastsumson the construction notedsourlythatborecriticism; Lucretius homesprompted considerable dom drovethe rich from their city home to their countryone and back again. Such was the quest for creature comforts and diversionsthat a passion similar to the of fishin ponds became pisciculture thebreeding andmanyRoman writHolland, cultivation of tulipsin seventeenth-century sufferedbecauseof it. ers complained thatthe businessof government country estates of luxuriain Roman Certainly muchof the condemnation but had sevlip service; Cicerowasamongthe critics waspureRepublican activelyin searchof statuesfor his eral villashimselfand corresponded andearlyEmpire were retreats of the lateRepublic gardens. The elaborate to the wealthy. amenities thatseem to havebeen indispensable the ownerto oversee The villa rustica,or countryvilla,whichpermitted which musthaveoriginated earlyon in Campania, the farmsat hisdisposal, wasfirstcolonizedby the Greeksin the middleof the eighthcenturyB.C. Evidencefor such villasis preservedonly from the second centuryB.C. Onward, however, when prominentRomanslike ScipioAfricanusMaior for occasional stays. At that outsideof the capital hada secondary residence in Greecefilledthe fromRomanmilitary conquests time,imported objects

the White 15-17. Opposite: Thisdetailfrom pasRoomof Boscotrecase recallsVitravius's of thelate sagedescribing theplayfulconceits Secondand earlyThirdStyles,whichhe deGorgon plored.Above:TheJulio-Claudian mask(92.11.8) revealssomeof the technical layer features ofRoman fresco,witha colorful paintedon topof the a secco (on dryplaster) Below:A panel in white frescobackground. theMuseum of Art, RhodeIslandSchoolof Design,Providence, typifes thefantasticarchitecture paintedduringtheFourthStyle.

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18. Vesuvius can beseento thenorthwest in this phototgraph of thevillaatBoscoreale taken duringits excavation, in September of 1900. In the foreground is theolearium (Room 24 on theplan,fig. 21)for themanufacture and storage of wineand oil. Thevilla'sentrance is at theright.Between theentrance and the olearium wa.sthe Roomof the MusicalInstruments, named afterthesubject of itsfrescoes;paintings from bothrooms are now in theLourre. Two columns oftheperistyle emerge fromthemound of earth at theright,stillunexcavated at thetime,andBedroom M isjust beyond thecolumn farthest fromtheobserver. FromF. Barnabei, La villa pompeiana di P. Fannio Sinistore (Rome, 1901), pl. III.

homesof Romanpatronsboth in the citiesand in the countryside. Such bootyfired the imagination of artistsworkingin the regionand accounts for muchof the imageryin villasof the secondand firstcenturiesB.C. Duringthe lateRepublic, the agricultural productivity of farmsadjacent to these villasbecameless important than the enjoymentthe ownersderivedfromthe residences themselves. This trendwasa sourceof irritation as earlyas the mid-second centuryB.C. to men like M. PorciusCato,who sawin the striving for luxuria a debasement of longstanding Romanvirtues associated withhardworkand devotionto the state. As the role of the countryvilla changed from a simple residencefor overseeing agricultural productivity to a comfortable retreat,more slaves werekeptyear-round on the groundsand more roomsand servicebuildingswereadded.Similarly, as the ownersgrewincreasingly sophisticated, it became fashionable to inviteGreekphilosophers andRoman literati to these retreats.The settingsin whichan ownerentertainedhis guestschanged accordingly, and simplepaintings imitating masonry wallsyieldedto scenes drawnfrom Greekmythology. The cultivated tastethatreplaced mereostentation wasin no smallmeasure responsible for the growthof the SecondStyle.The paintedwallsof diningrooms,libraries, and bedrooms, likethoseof the villaat Boscoreale, soon reflectedthe villaowners'intellectual and aestheticsavoirfaire and weremeantto be appreciated by visitorsfrom the neighboring Greekcity of Neapolis(ancientNaples).

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through the middle of the first century A.D., those who could sumptibus" lavishextravagance as the privateresidences livedin "profusis of the period attest. Condemnationsof such self-indulgence by writerslike Martialcontinued, but Campaniawas filled with sumptuous properties, including the imperialestate at Boscotrecase,and until the end of the Roman Empire remained an inviting resort area of thermal cures, glamorous social life, and intellectual stimulation. Each villa's extensive grounds provided ample space for innovative landscape design and architecturaland decorativeexperimentation,but the proliferationof such villasalso resulted in motifs shared from one to the next, which has facilitatedthe archaeologist's tasks of establishingrelative chronology and sorting out workshops. The discoveryof Roman villas in Campaniahas proceeded slowly,since so much of the countryside surrounding Vesuvius was covered over and subsequentlybuilt upon. By contrast, the remains of seaside villas often rusticae may be spotted underwaterto this day owned in addition to villae in the Bay of Naples, especially in the area around Posilipo, ancient Pausilypon. The chance discoveries of the two villas at Boscoreale and Boscotrecaseare especiallyimportant, since these were superb examples of late Republicanand early Empire interior design. Dozens of other extraordinaryvillasin the region,both imperialand private,awaitcarefulexcavation.
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21. Thevilla at Boscoreale is shownhere in a roofZess isometric plan that includes featuresknownonlyfrom the excavation report published byE Barnabei in 1901. RetainingBarnabei's unorthodox system of identification, we canproceed aroundthe villa clockwise:

M. Cubiculum with a north window, which mayhavebeenoriginalor addedafterthe earthquake of A.D. 62 (seefig. 23) L. An open exedra with three walls painted withgarlands.Thewallvisiblein the drawing is in the Muse'eRoyal et Domaine deMariemont, Morlanwelz, Belgium; the Metropolitan's panel (tg. 43) B. Interior entrance was on thefacing wall C. Passageway I. Thisroom wasdecorated with paintings D. Roomof theMusicalInstruments of rusticated masonry, now in theLourre 24. 01earium,for theproduction of wine and in theMariemont museum and oil H. Probably a diningroom.On thewall E. Peristyle. Thesix-column arrangement facing thesouth entrance were three paintwasimitated on thepainted wallsbelow the ings(leftto right): Dionysos andAriadne, cantilevered roofof thecourtyard. A large Aphrodite andEros,andtheThree Graces. bronze vase (tg. 39) waspaintedon the Onlythecenter panelis preserved; it is in wallacross theentrances of Rooms N and theMuseo Archeologico Nazionale, Naples. O, and the Corinthian column(tg. 38) Above each painting were smaller triptychs; wasat thesoutheast corner of theperistyle twoof these, in very poorcondition, arein N. Winter triclinium (dining room) the Metropolitan Museum.On the right O. Sittingroom (east)wall weretheMetropolitan's paint-

ings (figs.34-36). A wingedGeniuswas at eachsideof thesouthern entrance from theperistyle; one is in theLourre,and the otheris in the Mariemont museum.On theleft (westwall), not visible,werethree paintingsnow in Naples G. Summer diningroom(?). Paintingsin theMariemont and Naplesmuseums 23. Passageway E Three paintingsof thisroom are in the Metropolitan (seefigs. 40, 42 ) 22. Uncertain function 20. Dressingroom 21. Frigidarium(coldbath) 17. Tepidarium (warmbath) 18-19. Caldarium(hotbath) 15. Colonnaded courtyard 1-12. Servants' quarters

22. Opposite:Detail of a maskof Panfrom the Metropolitan'ssection of Room L

16