This volume offers a comprehensive survey of Roman villas in Italy and the Mediterranean provinces of the Roman Empire, from their origins to the collapse of the Empire. The architecture of villas could be humble or grand, and sometimes luxurious. Villas were most often farms where wine, olive oil, cereals, and manufactured goods, among other products, were produced. They were also venues for hospitality, conversation, and thinking on pagan, and ultimately Christian, themes. Villas spread as the Empire grew. Like towns and cities, they became the means of power and assimilation, just as infrastructure, such as aqueducts and bridges, was transforming the Mediterranean into a Roman sea. The distinctive Roman/Italian villa type was transferred to the provinces, resulting in Mediterranean-wide culture of rural dwelling and work that further unified the Empire.

This is a catalogue of an exhibition by the Kelsey Museum at the University of Michigan which focused on a cycle of frescoes found in 1990 at the well-known villa on the outskirts of ancient Pompeii. Probably painted around 60 BC, the cycle depicts young women probably being initiated into the cult of Bacchus (Dionysus) in preparation for marriage. The catalogue presents a number of objects connected with the villa, as well as the reconstruction watercolours commissioned by Francis Willey Kelsey, founder of the museum, from Maria Barosso, an artist working in Rome at the time of the frescoes' discovery. Even more interesting are the ten essays that precede the artefacts, which focus on `women and cult in the art of Roman Italy' and have been developed out of a research group led by Gazda.

It is AD 79 and Mount Vesuvius has erupted, destroying Pompeii. Among the thousands of people huddled in refugee camps along the bay of Naples are Flavia Gemina and her friends, Jonathan the Jewish boy, Nubia the African slave-girl, and Lupus the mute beggar boy. When the friends discover that children are being kidnapped from the camps, they start to investigate and soon solve the mystery of the pirates of Pompeii. A terrifically exciting and dramatic story packed with superb historical detail.

When Vesuvius erupted in 79 CE, the force of the explosion blew the top right off the mountain, burying nearby Pompeii in a shower of volcanic ash. Ironically, the calamity that proved so lethal for Pompeii's inhabitants preserved the city for centuries, leaving behind a snapshot of Roman daily life that has captured the imagination of generations. The experience of Pompeii always reflects a particular time and sensibility, says Ingrid Rowland. From Pompeii: The Afterlife of a Roman Town explores the fascinating variety of these different experiences, as described by the artists, writers, actors, and others who have toured the excavated site. The city's houses, temples, gardens--and traces of Vesuvius's human victims--have elicited responses ranging from awe to embarrassment, with shifting cultural tastes playing an important role. The erotic frescoes that appalled eighteenth-century viewers inspired Renoir to change the way he painted. For Freud, visiting Pompeii was as therapeutic as a session of psychoanalysis. Crown Prince Hirohito, arriving in the Bay of Naples by battleship, found Pompeii interesting, but Vesuvius, to his eyes, was just an ugly version of Mount Fuji. Rowland treats readers to the distinctive, often quirky responses of visitors ranging from Wolfgang Amadeus Mozart, Charles Dickens, and Mark Twain to Roberto Rossellini and Ingrid Bergman. Interwoven throughout a narrative lush with detail and insight is the thread of Rowland's own impressions of Pompeii, where she has returned many times since first visiting in 1962.

James S. Jeffers provides an informative tour of the various facets of the Roman world--class and status, family and community, work and leisure, religion and organization, city and country, law and government, death and taxes, and the events of Roman history.