at Montreal Museum of Fine Arts, May 2016
Vesuvius
leaves its lasting legacy
On August 25th, 79 A.D. Mount
Vesuvius erupted, (Pliny the Younger states two different dates), the thriving port city of one of
Italy’s most prosperous of Roman towns suffered an irreversible catastrophe,
and along with this cultural mecca, Herculean and Stabiae.
The exhibit sets the tone immediately.
Before entering the first of nine rooms, a black and white still in a projected
image of the summit has its moving element; spewing smoke appears. A far more
dramatic display of events reiterates this scene on a large scale that clocks
in the four eruptions over a 24-hour period – the last of which is the final Tsunami-like
covering of the entire town. This film, with some sound effects, mesmerizes
viewers; and most would only recall this as the story of Pompeii, had not the
other eight rooms brought to life the exuberant daily life and artistic zenith
of the town and its inhabitants.
How clever that the exhibit builds up
the bustling, dynamic reality that resonated within Pompeii’s walls! Its
houses, shops, outdoor theatres, markets and more are brought to life; there
are even background sounds that vividly enhance the visual aspects in the 220
artifacts that viewers can appreciate as they travel back in time.
Historical information is outlined
regarding Roman rule and Pompeii’s subsequent uprising against the colonizing
yoke that failed. An earthquake in 62 A.D. did nothing to shake the spirited
people of Pompeii; it took 17 years to rebuild most of their beloved town. Little
did they suspect nor surmise what would soon ensue.
One of the most telling examples of the
people was the amazing amount of bakeries – 40 in all – that sprung up
everywhere. Some houses even sold bread from the open door. Paintings depict
this aspect of food, but ominously displayed near portable kilns, stoves,
cooking utensils and more is a half-round loaf of carbonized bread.
Weights in iron and brass, oil lamps, coins
dating from 41 to 70 A.D. are on display. Gold, silver and brass constitute
their material. Carpenter tools fascinate as do the plumbing outlet faucets and
more. Aged with patina, I thought these were remarkably telling of the city’s
sophistication in taking care of hygiene and water.
I saw vintage raw axe heads, rusted
nails and strange vertical measuring instruments. Amidst the major statues in
marble found in various indoor gardens, tables and ornaments in glass, I beheld
a dozen pieces of gold jewelry that dazzled in design, brightness and colour.
The four distinct stages of painting,
including the masonry technique and trempe d’oeil, a plethora of wall panels
and paintings and many scenes in relief along with tiny lares – gods in bronze
housed on a shelf as protectors. Details in their art astound; they are
priceless pieces of antiquity.
Tessserae – mosaic pieces that are
assembled in figurative art, even a strigil, gladiator armour used in battle
and more converge to show the diverse activities that travel the gamut from art
to fighting – even dice games.
I was not persuaded that each piece was
the original – especially in the perfectly smooth totally intact marble pieces,
along with the frescoes that were obviously repaired; they were in too good
condition to accept as untouched by restorers – all which should have been
clarified in writing on the relevant plaque – along with the dates and
provenance of many items were lacking. The audio guide surely explained more
about each piece, but gallery exhibits usually provide vital written information to
the viewer.
Finally, the second last room showed a
film and several figures cast in positions of their last breath was
unforgettably moving. Thanks to Giuseppe Fiorelli who carefully retrieved many
of the dead, pulverized in ash and pumice, 1000 bodies of the 20,000 once very
alive inhabitants have been recovered. He was able to get them out using a
specific technique, employing casting, the human tragedy lives before our eyes.
Overall, this exhibit is appealing, yet I would have liked more explanations of
the making of a fresco and the repairing of so many pieces in the lab overseen
by Professor Stefano Vanacore, director of the restoration.
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