**A GUIDE FOR LATIN CLASSES**

***Pompeii and the Roman Villa: Art and Culture around the Bay of
Naples***

**National Gallery of Art, Washington**

**October 19, 2008 -- March 22, 2009**

**SALVE---and welcome to *Pompeii and the Roman Villa: Art and Culture
around the Bay of Naples. ***

The Bay of Naples is a beautiful place. Its rocky coast drops
dramatically into dazzling blue waters. The land is fertile, terraced
with vines and fruit trees. Cool breezes temper the heat of sunny days.
The seafood is unsurpassed. No wonder the area attracted the imperial
family and Rome's wealthiest citizens, who left the capital each spring
and summer for lavish villas. An ideal spot for *otium*, the bay was a
place to enjoy many pleasures---invigorating exercise in parklike
surroundings; the best food and drink; the most refined décor; the
newest entertainments; and the solitude to read, write, and think. The
region was also home to thriving towns, places of *negotium*. In
bustling commercial centers such as Pompeii, townspeople copied the
lifestyle of the villa owners to the extent their means allowed, and
many locals were very rich themselves. It was a climate in which the
arts could prosper---as you'll discover as you explore the exhibition.
We owe this remarkably detailed look at the past to the destruction
brought about by the eruption of Mount Vesuvius in AD 79. But here
you'll see how life---the good life even---was enjoyed around the Bay of
Naples.

**Use this guide as you tour the exhibition. The questions draw on what
you know of Roman culture---and there's a little LATIN, too! Ponder
them, talk them over, and share your ideas. Some questions are quite a
REACH, a challenge for advanced classes. Learn more about Roman art by
reading the ART NOTES and---more importantly---by looking closely.**

**SIC INFIT**

**1. PORTRAITS AND THE JULIO-CLAUDIANS**

**Look in the first two galleries of the exhibition to see portraits of
some of the people who had villas or homes around the bay. Most are
members of the imperial family, for whom images that resembled those of
Augustus were important tools of propaganda.**

Augustus (image 1)

While this bust depicts Augustus as a young man, it might have been made
much later in his life. Why do you think Augustus---or any other
leader---would want to focus on youth? What qualities of character does
this portrait suggest?

REACH: Augustus chose a calm, classical style for his official
portraiture, consciously harking back to Athens' golden age under
Perikles in the fifth century BC. What does that suggest about Augustus'
public persona? About his political and social aims?

Augustus, Julius Caesar, Drusus Major, Gaius (Caligula), Nero (images
1--5)

What facial similarities do you see in these busts? Why have sculptors
worked to make physical connections in these likenesses even though the
men were not all related by blood?

REACH: Can you describe the relationships between these men---as uncles,
nephews, grandsons, etc.? Create a family tree if you can.

The empress Livia and her son Tiberius (?) (image 6)

Compare the dark stone bust of Livia (not illustrated here) with her
small cameo portrait in a case in the next room. What sort of character
do these two images project? How do they differ?

REACH: Scholars have suggested that Livia is looking at a memorial bust
of Augustus or Drusus, or a portrait of a young Tiberius. How would
these different identifications affect your interpretation of the cameo?
Livia's slipping drapery evokes Venus. Why might she want to make such a
connection?

*IN GENERAL*

What elements of these imperial personalities do the sculptors
accentuate? What do they tell us about the characteristics Romans might
have valued in a leader or appreciated in the individual careers of
these imperial figures?

Gaius Cornelius Rufus (image 7)

A pillar with a head on top is called a herm. What, besides the herm
treatment, makes this portrait different from those you have just seen?
Consider such things as expression, age, and hairstyle.

REACH: This man was a member of the plebeian Cornelius family, as was
the mother of two great social reformers from the second century BC. Do
you know who they were?

LATIN: What in the inscription---C CORNELIO RVFO---tells you that the
herm did not simply depict, but was also dedicated to, Cornelius?

**ART NOTE** **Roman portraiture**

The Romans adopted many of their styles of art and architecture from
Greece. But in one way they were unique: Romans had a taste for "facts,"
for real events and real people.

Early in Rome's history, the veneration of ancestors became a key part
of family identity and religious obligation. Wax masks of dead family
members, kept in the atrium, were carried in processions---a practice
that probably contributed to the development and importance of
portraiture. Like Etruscan portraits before them, portraits of the
Republican period were highly individualized, realistic, and almost
brutally honest. Men like Gaius Cornelius Rufus and even Julius Caesar
proudly bore crinkles and bags as emblems of wisdom and experience. The
more **idealized** look favored by Augustus created an image of serene
confidence. Over the course of Roman history, portrait styles would
shift along with political goals.

**2. OBJECTS IN THE HOME**

**These questions all pertain to everyday---but very
expensive!---objects that you'll see before you go upstairs.**

Skyphos with the Labors of Hercules (image 8)

Identify which of the twelve labors of Hercules you can see depicted on
the cup. Name some of the others that you can't see.

Considering the story behind Hercules' labors, why might they be
appropriate for a drinking cup?

Still life with writing implements (image 9)

LATIN: The labels identify these objects. Can you give the Latin names
for any of them?

Ornaments from a dining couch in the form of mules' heads (image 10)

Mules, especially wild ones, were associated with Dionysos (Bacchus).
Why were these appropriate ornaments for a couch set in a triclinium?

Frolicking centaurs (image 11)

Centaurs were known as vicious drunks and playful pranksters. But they
were also mentors to such famous heroes as Achilles, and some centaurs
were female. What do these figures have in common? What activities are
suggested by their poses and the objects they carry?

Dionysos (image 12)

Name three things in this bronze that identify the figure as Dionysos
(Bacchus).

Chain with figurine of Isis--Fortuna (image 13)

The small figure on this chain is Isis-Fortuna, who was a blend of an
old Roman deity and a popular Egyptian goddess. What attributes identify
them?

The temple of Isis is the best preserved of the Pompeian sanctuaries.
Name some other exotic eastern religions that were beginning to make
headway in Rome and Italy in the first century AD. Why do you think
these religions had such great appeal? Do you think Pompeii's coastal
location and trade made an impact?

LATIN: Roman homes typically had a shrine that held small figures of
household gods. What was it called? Where does this name come from?

Serpent bracelet (image 14)

LATIN: Snakes were considered good luck. They guarded springs and homes
and were popular decorations for bracelets. Roman children were
protected by a specific sort of jewelry. What was it called?

Skyphos with inlaid Egyptian figures (image 15)

The Egyptian references on this cup are inaccurate and indicate its
craftsman had a limited understanding of Egyptian religion and culture.
Can you give examples from our own time of artists who show well-meaning
but bumbling respect for other civilizations?

*IN GENERAL*

LATIN: It is easy to see that all these objects are "luxurious." What is
the Latin root of this English word? (Hint: it is not "lux.") What does
this etymology suggest about Roman attitudes toward luxury?

**3. IN THE GARDEN AND DINING ROOM**

**After you have gone upstairs, you will look across a garden to the
red-painted walls of a triclinium. Enjoyments of different sorts
await**.

Panel with a Dionysiac procession (image 16)

There are many representations of Dionysos (Bacchus) in this garden
area. Name as many elements as you can that associate the figures on
this relief with the god. What makes him a "natural" inhabitant of the
garden?

**ART NOTE** **Painting marble sculpture**

When imagining a work of ancient sculpture, most people envision pure
white marble. But, as you may already know, most marble sculpture from
Greece and Rome was painted. So was the carved decoration on buildings.
Hair and eyes were colored, as were parts of the figures' clothing.
Sandal straps were often not carved at all but instead indicated only by
paint. Many traces of paint remain, as you can see in this relief. What
does the paint on the tambourine suggest? The red paint in the hair of
some figures may have been an undercoat for gilding. You'll get a better
idea of marble sculptures' original appearance by looking at depictions
of it in the garden frescoes in this room.

Plato's Academy (image 17)

Gardens also offered quiet spots for reading and discussing philosophy.
Perhaps you do not think of philosophy as a form of enjoyment, but
prosperous Romans did! Most scholars think this mosaic illustrates
Plato's famous Athenian school, called the Academy, which was set in a
sacred olive grove. Can you identify objects that would be found in an
ancient school? Can you think of any Roman authors or public figures who
were interested in Greek philosophy?

What do you think the hill in the background (at right) might be?

**ART NOTE** **Mosaic**

Early Greek mosaics from the fifth century BC had been made with simple
river pebbles. But artisans soon started to use colored marbles and
glass, which greatly expanded the range of colors. These materials were
cut into smaller and more regular pieces called tesserae, which
permitted greater detail as well as subtle effects of light and shade.

Most mosaics in Pompeian homes were on the floor. Reproductions in this
exhibition give a sense of what it would have been like to walk on them.
Often, when mosaics were removed by early excavators, only the central
scenes---*emblemata*---were preserved, without the surrounding borders
that typically framed them. Archaeologists think that many of the finest
mosaic *emblemata* from Roman Italy copied older Greek paintings on wood
panels, which have long since vanished.

Victorious youth (image 18)

The Olympic Games began in 776 BC and continued until AD 393, when the
emperor Theodosius put an end to them. Nero himself was a contestant
(and although he fell from his ten-horse chariot, he was, amazingly,
deemed victorious). Winners were celebrated in verse and in sculpture.
This bronze (with original inset eyes) represents a *victorious*
athlete---how do you know he was a victor?

What did Olympic victors in the 2008 summer games receive? Where have
their portraits appeared?

REACH: To what god were the Olympic Games dedicated? Can you name other
ancient games?

Apollo with muses Clio and Euterpe (image 19)

In a Roman triclinium, food was just one of the available
entertainments. The walls of this triclinium are decorated with Apollo
and the muses. Why would they be appropriate in setting the tone of a
Roman dinner party, where poetry and music were performed?

REACH: Some scholars think this particular Apollo is also a portrait of
the emperor Nero. From what you know of Nero's life, what makes an
identification with Apollo plausible?

**ART NOTE Roman wall painting**

The very richest people could afford to face their walls with expensive
and exotic marbles. But the most common type of decoration---found in
almost every house in Pompeii---was wall painting. Even the bedrooms of
slaves were given a stripe or two.

The paintings from Pompeii date from about 200 BC, and are divided by
archaeologists into four "styles." In the First Style, wall plaster was
molded to look like masonry and painted to resemble veined marble or
other stones. Beginning in the early first century BC, the Second Style
featured all-over illusionistic vistas onto elaborate architecture. Late
in the same century, Third-Style artists used flat color over most of
the surface; delicate frames seem to divide the wall into panels and
enclose small sketchy vignettes that appear to float within them. In the
Fourth Style, beginning in the early first century AD, larger figures or
mythological scenes (often looking like panel paintings "hung" on the
wall) were framed within fantastical architecture. Like mosaic
*emblemata*, they sometimes copied celebrated Greek paintings.

Which style do you think best characterizes the walls of the triclinium?
(Hint: Remember, some archeologists think Nero is depicted as Apollo. )

*IN GENERAL*

LATIN: You may have heard the term "Pompeian red"---it's a favorite with
decorators even today. Red and yellow are the most common wall colors in
Pompeii (some yellow walls turned red due to heat), but green and blue
are also found. As does English, Latin has many different color names.
How many can you think of for the reds, yellows, blues, and greens of
Pompeian walls?

**4. GREEK LEGACIES**

**These next objects are found in the galleries past the video\* and
point to ways in which the Roman world adopted the arts and culture of
Greece. Rome's initial contact with the Greek world occurred in southern
Italy and Sicily, where Greek colonists had established cities like
Syracuse and Neapolis (Naples). Later, as Rome expanded militarily
across the Mediterranean, this contact extended to Greece proper. Roman
conquest of Greece was complete in 146 BC, but as late as 86 BC Athens
was sacked.**

**See how many Greek gods, philosophers, generals, and poets you can
find. Keep a list here:**

Homer and Menander (images 20 and 21)

What qualities did the sculptor attempt to express in this imaginary
portrait of Homer? Compare it to the bust of New Comedy playwright
Menander. What different qualities are being emphasized in these works?

REACH: Which Latin playwrights are noted for comedies inspired by those
of Menander?

Thracian gladiator's helmet (image 22)

What characters and episodes can you identify from the night of Troy's
destruction? How might this theme have been considered appropriate on a
gladiator's parade helmet?

LATIN: Where does the word "gladiator" come from? What do you think the
gladiators called *retiarii* used as weapons? Do you know the Latin word
for helmet, or for any weapons?

Would you say that the person who wrote the graffito below, found on a
wall in Pompeii, was a partisan of Pompeii? Or did he root for the
nearby towns of Puteoli and Nuceria? (Hint: uncus, ī, *m.,* a hook.)

*Puteolanis feliciter omnibus Nucerinis felicia et uncu(m) Pompeianis*

**ART NOTE** **Roman taste and Greek art**

To many Romans, the appreciation of Greek culture and art became
something of a status symbol. When Roman armies captured Greek cities in
the second century BC, many of the greatest works of Greek art became
spoils of war. Hundreds of bronze and marble statues, paintings, and
mosaics were shipped back to Rome. Wealthy Romans---like Cicero---became
avid collectors. In addition to these "antique" Greek objects that were
imported (or looted), copies were made of the most famous statues. Also,
completely new creations were made in earlier Greek styles. That is the
case with the next two goddesses.

Artemis (Diana) and Aphrodite (images 23 and 24)

The label gives the Roman name for the goddess Artemis. What was the
Roman name for Aphrodite? Without the labels, what attributes would
indicate their identities?

**ART NOTE Archaic and classical styles**

Artemis copies the look of Greek sculpture made in the sixth century BC,
called the archaic period. Archaic works emphasized stylized, decorative
patterns. Notice how:

> -her fixed smile mirrors curves in her brows and almond eyes

-the curls of her hair, shaped like little snails, make a regular
pattern

> -she looks lively and energetic, but a little stiff
>
> -her dress fans out in regular folds---and they seem unaffected by
> gravity!

Aphrodite was carved in the classical style of sculpture made in Athens
in the late fifth century BC. Notice how:

-her face is calm and serene, but without much expression or
individuality

> -she distributes her weight in a believable way
>
> -drapery, seemingly transparent, both conceals and reveals her body

Torso from a statue of a woman (image 25)

What can we tell about how this statue was assembled? Would you say its
style is archaic or classical?

Despite the more sensual aspects of this torso, this is the
representation of a married Roman woman. How can we tell?

\* If you don't have time to see the video now (or in the East Building
Small Auditorium where it is shown most days between noon and 3:00),
tell your teacher that it can be borrowed, free of charge, from the
National Gallery's department of education resources:
*www.nga.gov/education*.

**5. REDISCOVERY**

**The final section of the exhibition looks at the rediscovery of
Pompeii and the other towns buried by Vesuvius as well as the enormous
impact the finds had on the tastes of later times. Sites around the Bay
of Naples became important stops on the Grand Tour---that long
travel-adventure that completed the education of any cultivated person
in the eighteenth century. Neoclassical fashions found their way into
dress, jewelry, and even tableware. The designs of Pompeian painting
appeared in homes and public buildings---you can see them today in both
the U.S. Capitol and Washington's Union Station! Novels about the
disaster, like *The Last Days of Pompeii,* became popular reading;
artists also re-created this rediscovered world in prints and
sculptures.**

Valenciennes, Eruption of Vesuvius (image 26)

We have an eyewitness account of the disaster of AD 79. When the volcano
erupted, Pliny the Younger (age 17) was staying with his uncle, Pliny
the Elder, who was the author of *Naturalis Historia* and commander of
the fleet in nearby Misenum. Pliny the Elder sailed toward the eruption
to evacuate people and get a firsthand look. You could say he was killed
by curiosity---overcome by gases, he died on the beach at Stabiae. Many
years later Pliny the Younger wrote an account of the disaster in
letters (*Epistles*) to his friend, the historian Tacitus. Here are a
few excerpts.

> *On \[the day\], at about the seventh hour my mother pointed out to
> him \[the elder Pliny\] a cloud that had just appeared. This cloud was
> unusual in appearance and exceptionally large\.... The general
> appearance and shape of the cloud were those of an umbrella pine.*
>
> *My uncle wondered briefly whether he should turn back, but when the
> helmsman advised him to do so, he replied "No! Fortune favors the
> bold. Head toward the Pompeians."*
>
> *My uncle lay down on a cloth that had been spread on the ground, and
> asked for and drained several drinks of cold water. Then the flames
> and the smell of sulphur that had preceded them made the others decide
> to flee and woke up my uncle. Leaning on two slaves, he got up, and
> straight away he collapsed\.... When the light of day returned, his
> body was found untouched, apparently unharmed and still dressed the
> way he had been. His body looked more like that of a man asleep than
> one who had died.*
>
> *We experienced many amazing and terrifying things. For the
> carts\...were being carried off in different directions, even though
> the ground was level, and they didn't stay in the same place even when
> they had been wedged with stones. Also we saw the sea dragged back
> into itself and then apparently driven back by the shaking of the
> earth\... many sea creatures were stranded on the dry sand. In the
> other direction a terrible black cloud, split by jagged and quivering
> bursts of fiery air, gaped open to reveal tall columns of flame. They
> were like lightning bolts, but even bigger.*
>
> *Some prayed for death because they were afraid of dying. Many of them
> raised their hands to the gods in supplication, but even more took
> this disaster as a sign that the gods were no more and the worlds had
> been overtaken by an endless night*.---Pliny the Younger, *Epistles*

Valenciennes almost certainly read Pliny's account. Which specific
elements of his painting do you think were based on Pliny's letters?

LATIN: Pliny's account indicated the date when the eruption began.
Although manuscript versions vary, the most commonly cited day is August
24. What would be the Latin form of this date? When would the "seventh
hour" be?

Without literary evidence to give us the date on which Vesuvius erupted,
what types of evidence could archeologists use to tell us at least the
season in which the eruption occurred?

Bazzani, A Pompeian Interior (image 27)

This painting is a nineteenth-century artist's imaginary view of a room
in a Pompeian house. Which room is shown? How do you know?

Can you name other rooms in a "typical" Roman house? List them here and
indicate what they were used for, then name the rooms in **your** house
where those activities take place.

From what you have seen in the exhibition, how do you rate the accuracy
of this scene? Is anything illustrated here that you would not have seen
in a Pompeian house?

Alma-Tadema, A Sculpture Gallery (image 28)

Spend some time looking at this painting made in 1874---its precise
style depicts a Roman store full of objects, including some you have
seen. You can peel away its different layers of "reality"---ancient
objects, objects inspired by ancient objects, objects that combine
ancient and modern parts, etc.

Imagine that two thousand years from now an artist were to paint a
shop-scene set in our times. What objects and styles would immediately
convey to some future art lover that this picture is set in the early
twenty-first century?

*IN GENERAL*

Archaeology in Pompeii and the other areas around the Bay of Naples
continues today. Consider some of the ethical issues facing
archaeologists and discuss with your classmates:

Should the available funds go toward unearthing more of Pompeii, or
should those resources go into protecting, studying, and making
accessible what has already been excavated?

Should more of Herculaneum be excavated even though it lies under the
present-day city of Ercolano?

Should excavators work only on uncovering Pompeii as it was in AD 79? Or
should some parts of the city be dug down to lower levels so we can
learn more about the older town that lies below?

The only library from antiquity that has ever been found is in the Villa
of the Papyri---the bronze bust of the victorious athlete we looked at
came from there. The sprawling structure is only partially excavated,
and more scrolls are surely still buried there. It is possible that an
entire Latin library (typically libraries were divided into Greek and
Latin, and the texts found so far are Greek) may await. Classicists are
eager to look for these texts---imagine finding new works by
Virgil!---but archaeologists and conservators are more cautious.
Officials have an obligation to preserve the areas uncovered, and the
site is waterlogged---only pumps keep it dry. They urge a go-slow
approach. What do you think?

**captions**

The works of art from Italian collections were lent to the exhibition
under the authorization of the Soprintendenza Speciale per i Beni
Archeologici di Napoli e Pompei.

*1 Augustus*

early 1st century AD

marble

The Walters Art Museum, Baltimore, Maryland

*2 Julius Caesar*

probably mid-1st century BC

marble

Lent by the Toledo Museum of Art; Purchased with funds from the Libbey
Endowment, gift of Edward Drummond Libbey

*3 Drusus Major*

probably last quarter of 1st century BC

bronze

Museo Archeologico Nazionale di Napoli

*4 Gaius (Caligula)*

1st century AD

Parian (?) marble

Museo Archeologico dei Campi Flegrei, Baia

*5 Nero*

1st century AD

marble

Worcester Art Museum, Worcester, Massachusetts

*6 The Empress Livia and her son Tiberius (?)*

early 1st century AD

turquoise

Museum of Fine Arts, Boston, Henry Lillie Pierce Fund

*7 Gaius Cornelius Rufus*

1st century BC-1st century AD

marble

Ufficio Scavi, Pompei

*8 Skyphos with the Labors of Hercules*

probably 2nd half of 1st century BC

silver

Museo Archeologico Nazionale di Napoli

*9 Still life with writing implements*

1st century BC--1st century AD

fresco

Museo Archeologico Nazionale di Napoli

*10 Ornaments from a dining couch in the form of mules' heads*

1st century BC--1st century AD

bronze, silver, and copper

Museo Archeologico Nazionale di Napoli

*11 Frolicking centaurs*

1st century BC--1st century AD

fresco

Museo Archeologico Nazionale di Napoli

*12 Dionysos*

probably 1st century AD

bronze

Ufficio Scavi, Pompei

*13 Chain with figurine of Isis-Fortuna*

probably 1st century AD

gold

Ufficio Scavi, Pompei

*14 Serpent bracelet*

1st century BC--1st century AD

gold

Museo Archeologico Nazionale di Napoli

*15 Skyphos with inlaid Egyptian figures*

1st century BC--1st century AD

obsidian with coral, lapis lazuli, jasper, carnelian, malachite, and
gold inlay

Museo Archeologico Nazionale di Napoli

*16 Panel with a Dionysiac procession*

1st century BC--1st century AD

marble

Museo Archeologico Nazionale di Napoli

*17 Plato's Academy*

1st century BC--1st century AD

mosaic

Museo Archeologico Nazionale di Napoli

*18 Victorious youth*

1st century BC--1st century AD

bronze

Museo Archeologico Nazionale di Napoli

*19 Apollo with muses Clio and Euterpe*

1st century AD

fresco

Ufficio Scavi, Pompei

*20 Homer*

1st century BC--1st century AD

marble

On loan from The British Museum

*21 Menander*

1st century BC--1st century AD

marble

Museum of Fine Arts, Boston, Catharine Page Perkins Fund

22 *Thracian gladiator's helmet*

1st century BC--1st century AD

bronze

Museo Archeologico Nazionale di Napoli

*23 Artemis (Diana)*

1st century BC--1st century AD

Pentelic marble

Museo Archeologico Nazionale di Napoli

*24 Aphrodite*

probably early 1st century AD

Pentelic marble

Museo Archeologico dei Campi Flegrei, Baia

*25 Torso from a statue of a woman*

1st century AD

marble

Museo Archeologico dei Campi Flegrei, Baia

*26* Pierre--Henri de Valenciennes

French, 1750--1819

*Eruption of Vesuvius*

1813

oil on canvas

Musée des Augustins, Toulouse

*27* Luigi Bazzani

Italian, 1836--1927

*A Pompeian Interior*

1882

oil on panel

Dahesh Museum of Art

*28* Sir Lawrence Alma-Tadema

British, 1836--1912

*A Sculpture Gallery*

1874

oil on canvas

Hood Museum of Art, Dartmouth College, Hanover, New Hampshire. Gift of
Arthur M. Loew, Class of 1921A

Credits

*Pompeii and the Roman Villa: Art and Culture around the Bay of Naples*
is organized by the National Gallery of Art, Washington, in association
with the Los Angeles County Museum of Art, with the cooperation of the
Direzione Regionale per i Beni Culturali e Paesaggistici della Campania
and the Soprintendenza Speciale per i Beni Archeologici di Napoli e
Pompei.

**The exhibition in Washington is made possible by The Exhibition Circle
of the National Gallery of Art.**

**It is also made possible by Mr. and Mrs. Joe L. Allbritton.**

**Bank of America is proud to be the national sponsor.**

**The exhibition in Washington is also supported by The Charles
Engelhard Foundation and by Mary and Michael Jaharis.**

Additional funding in Washington is provided by Robert and Arlene Kogod,
the John J. Medveckis Foundation, and the Malcolm Hewitt Wiener
Foundation.

The exhibition is supported by an indemnity from the Federal Council on
the Arts and the Humanities.

Copyright (c) 2008, Trustees of the National Gallery of Art, Washington.
Produced by the division of education and the publishing office,
National Gallery of Art.

Sincere thanks to Jeff Streed, Latin and Greek teacher at Episcopal High
School, who inspired and developed many of these questions. Thanks also
to Jane Brinley at Saint Anselm's Abbey School, Sally Rieger at National
Cathedral School, and exhibition curator Carol Mattusch who all offered
thoughtful suggestions and review.