Destroyed yet paradoxically preserved by the eruption of Mount Vesuvius in A.D. 79, Pompeii and other nearby sites are usually considered places where we can most directly experience the daily lives of ancient Romans. Rather than present these sites as windows to the past, however, the authors of The Last Days of Pompeii: Decadence, Apocalypse, Resurrection explore Pompeii as a modern obsession, in which the Vesuvian sites function as mirrors of the present. Through cultural appropriation and projection, outstanding visual and literary artists of the last three centuries have made the ancient catastrophe their own, expressing contemporary concerns in diverse media--from paintings, prints, and sculpture, to theatrical performances, photography, and film. This lavishly illustrated volume--featuring the works of artists such as Piranesi, Fragonard, Kaufmann, Ingres, Chass�riau, and Alma-Tadema, as well as Duchamp, Dal�, Rothko, Rauschenberg, and Warhol--surveys the legacy of Pompeii in the modern imagination under the three overarching rubrics of decadence, apocalypse, and resurrection. Decadence investigates the perception of Pompeii as a site of impending and well-deserved doom due to the excesses of the ancient Romans, such as paganism, licentiousness, greed, gluttony, and violence. The catastrophic demise of the Vesuvian sites has become inexorably linked with the understanding of antiquity, turning Pompeii into a fundamental allegory for Apocalypse, to which all subsequent disasters (natural or man-made) are related, from the San Francisco earthquake of 1906 to Hiroshima, Nagasaki, 9/11, and Hurricane Katrina. Resurrection examines how Pompeii and the Vesuvian cities have been reincarnated in modern guise through both scientific archaeology and fantasy, as each successive cultural reality superimposed its values and ideas on the distant past. An exhibition of the same name will be on view at the Getty Villa from September 12, 2012, through January 7, 2013; at the Cleveland Museum of Art from February 24 through May 19, 2013; and at the Mus�e national des beaux-arts du Qu�bec from June 13 through November 8, 2013.

Historisk roman om livet i Pompeii i de sidste dage før ødelæggelsen år 79 f. Kr.

Written on the rectos of 180 p. (MA 247) and 131 p. (MA 248), containing the following portions of the novel: Book I, chapters 5, 8; Book II, chapters 4, 5, 9; Book III, chapters 2, 3; Book V, chapters 1, 2, 3, 4, 5, 6, 7, 8, 9, 10, and last. With revisions and corrections throughout. MA 247 is followed by four blank leaves. MA 248 contains two additional leaves at end with notes relating to the provenance of the manuscript.

A fascinating look at Pompeii, Herculaneum and the Vesuvius eruption in comparison with other historically significant volcanic eruptions, including the World Trade Center disaster. The eruption of Mount Vesuvius in AD 79, which obliterated the Roman towns of Pompeii and Herculaneum, was a disaster that resounds to this day. Now palaeontologist Charles Pellegrino presents a wealth of new knowledge about the doomed towns – and brings to vivid life the people, their last moments, and the aftermath. The lessons learned from modern scrutiny of that ancient eruption produce disturbing echoes in the present. Dr Pellegrino, who worked at Ground Zero in the aftermath of the 9/11 attack, shares his unique knowledge of the strange physics of volcanic 'downblast' and 'collapse column', drawing a direct link from past to present, and providing readers with a poignant glimpse into the last moments of the 'American Vesuvius'.

Recently placed in charge of the Aqua Augusta, the aqueduct that brings fresh water to thousands of people around the bay of Naples, Roman engineer Marius Primus struggles to discover why the aqueduct has ceased delivering water and heads to the slopes of Mount Vesuvius to find the problem, only to come face to face with an impending catastrophe of mammoth proportions. Reprint.

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.

In Pompeii, in the summer of A.D. 79, Julia and Sura appear to lead opposite lives. Julia is the daughter of a wealthy ship-builder; Sura is an orphan. Julia bears the Curse of Venus—a withered arm; Sura’s beauty turns heads. Julia is free; Sura is her slave. Then Julia learns that her parents are planning to put her in the service of the Temple of Damia, the center of a cultish new religion, and Sura will be sold to an awful man who plans to make her his concubine. But when Mt. Vesuvius erupts, Julia’s and Sura’s fates are forever altered, forcing them both to face the true meaning of freedom.