SUMMARY / RELATED TOPICS

Villa of the Mysteries

The Villa of the Mysteries is a well-preserved suburban ancient Roman villa on the outskirts of Pompeii, southern Italy, famous for the series of exquisite frescos in one room, which are thought to show the initiation of a young woman into a Greco-Roman mystery cult. These are now among the best known of the rare survivals of Ancient Roman painting. Like the rest of the Roman city of Pompeii, the villa was buried in the eruption of Mount Vesuvius in 79 and excavated from 1909 onwards, it is now a popular part of tourist visits to Pompeii, forms part of the UNESCO World Heritage Site at Pompeii. Excavations in 2018 have revealed important remains of horses in a stable near the villa. Although covered with metres of ash and other volcanic material, the Villa sustained only minor damage during the eruption of Mount Vesuvius in 79 AD. Most of its walls and its frescoes survived intact. Since its excavation, the roofing and other parts of the house have been maintained as necessary; the Villa is named for the paintings in one of its numerous rooms.

This space may have been a dining room and is decorated with fine frescoes, which are dated to about 70-60 BC. Although the actual subject of the frescoes is debated, the most common interpretation is that they depict the initiation of a woman into the Dionysian Mysteries, a mystery cult devoted to the god known to the Romans as Bacchus. Specific rites were required to become a member. A key feature that helps to identify these scenes as Bacchic is the depiction of maenads, the deity's female followers; these devotees are shown dancing with swirling drapery on painted Greek pottery from the sixth century BC onward, centuries before the cult spread to the Romans. Among alternative interpretations, the most notable is that of Paul Veyne, who believes it depicts a young woman undergoing the rites of marriage. Though believed to be a triclinium, the room with the frescoes could have been the bedroom or cubiculum of the mistress of the house, which would indicate that she was a member of the cult.

In addition to fine rooms for dining and entertaining, the Villa had more functional spaces. A wine-press discovered during excavations has been restored in its original location, it was not uncommon for the homes of the wealthy to include areas for the production of wine, olive oil, or other agricultural products since many elite Romans owned farmland or orchards in the immediate vicinity of their villas. The Villa may be accessed from Pompeii, lying some 400 metres northwest of the town walls, beyond a road with funerary monuments on either side; as a suburban villa, it was still separate from it. The ownership of the Villa is unknown, as is the case with many private homes in the vicinity of Pompeii. However, certain artifacts give tantalizing clues. A bronze seal found in the Villa names L. Istacidius Zosimus, a freedman of the powerful Istacidii family. Scholars have proposed him either as the owner of the Villa or the overseer of its reconstruction after the earthquake of 62 AD; the presence of a statue of Livia, wife of Augustus, has led some historians to suggest that she was the owner.

As in other areas of Pompeii and Herculaneum, a number of bodies were found in the Villa, plaster casts were made of them. There are many different interpretations of the frescoes, but they are believed to depict a religious rite. Another common theory is that the frescoes depict a bride initiating into the Bacchic Mysteries in preparation for marriage. In this hypothesis, the elaborate costume worn by the main figure is believed to be wedding apparel. Based on the subject matter and order of the frescoes, they are intended to be read as a single narrative. Women and satyrs are featured prominently. Given the accepted theory that the murals portray an initiation into the cult of Bacchus, some propose that the frescoed room itself was used to conduct initiations and other rituals; the first mural shows a noble Roman woman approaching a priestess or matron seated on a throne, by which stands a small boy reading a scroll – the declaration of the initiation. On the other side of the throne the young initiate is shown in a purple robe and myrtle crown, holding a sprig of laurel and a tray of cakes.

She appears to have been transformed into a serving girl, but may be bringing an offering to the god or goddess. The second mural depicts her assistants preparing the liknon basket. At one side a Silenus is playing a lyre; the third mural shows a nymph suckling a goat in an Arcadian scene. To their right, the initiate is in a panic; this is the last time. Some scholars think. In the direction to which she stares in horror, the fourth mural shows a young satyr being offered a bowl of wine by Silenus, while behind him, another satyr holds up a frightening mask which the drinking satyr sees reflected in the bowl. Next to them sits a goddess, with Bacchus lying across her lap; the fifth mural shows the initiate returning. She now carries a staff and wears a cap, items presented after the successful completion of an initiation ordeal, she kneels b

Upuh Ulen-Ulen

Upuh Ulen-Ulen known as kerawang gayo, is a traditional cloth of the Gayonese people in Aceh, Indonesia. The cloth is traditionally placed on a young couple during a wedding ceremony, as well as on the shoulders of guests of honour. On April 6, 2018, the Aceh poet Lesik Kati Ara presented Joko Widodo, the president of Indonesia, with a cloth in the State Palace in Jakarta; the cloth has many components. Traditionally, the background is meant to be the same as'the contrast and color of the Earth'. According to a Gayonese proverb, God created man from the earth, who lives on the earth and returns to the earth after death; the white circle in the center symbolizes a full moon. Other motifs found in Upuh Ulen-Ulen are: A fence, since everything in the world has a certain limit, beyond which one should not go. Sprouts of bamboo, which are symbols of persistence and happiness. A string of clouds, an allegory of our path through life

Dino and Carlo's Bar

Dino and Carlo's was a small bar in San Francisco on Vallejo Ave from 1965 until 1968 which showcased new musical groups and artists. Dino and Carlo's is exceptional in that it showcased so many "later to be famous" music groups and other personages. While forgotten by many of its patrons, it is remembered by those given the opportunity to perform there; the bar was named after Dino Pettuchi and Carlo Morilla. It was managed by the late Lou'the Glue' Marcelli, well known to members of the Dolphin Club in San Francisco, he was known as ` The Commodore'. They put a hat on the front of the small stage to earn some compensation for their performance; the acoustics were terrible. The clientele included longshoreman and flower children, not a good mix; the notable bands who performed at Dino and Carlo's included: Janis Joplin Creedence Clearwater Revival The Grateful Dead Country Joe and the Fish Neal Schon Harry Chapin Jerry Garcia Cleveland Wrecking Company The WombThere were many talented groups not reaching the popularity of those mentioned above who performed at Dino and Carlo's.

Among were: Celestial Hysteria, The Flamin’Groovies, Devil's Kitchen, Trudy Broussard Trio, Country Weather, Marble Farm, Little Miss Cornshuck's Loose Troupe. Many poets presented their material at Carlo's. Among them were: Allen Ginsberg Richard Brautigan "I remember the first place we played, it was a place called Dino and Carlo’s, Danny couldn’t make our first show, so the first Flamin’ Groovies show was played without drums! But, he did play the next night, it was ramshackle back everything was pretty goofy. We had amps, you couldn’t believe the small little funky amps we were playing through" Harry Chapin is one musician that management at Dino and Carlo's was unaware had performed at their bar. "I met Harry. He asked about many things but about any music spots in the area. I knew of none so I introduced him to Ron Small. Ron knew of no good music bars in the Haight but suggested that Harry would like one of Ron's favorites close to North Beach. We both agreed to go there that evening with Ron.

Ron was a prolific drinker and had finished a full pitcher of beer before either of us had finished a glass. He excused himself to call his girlfriend Mary; the band was taking a break and Harry got up and talked to them. In a short bit, Harry used one of the groups guitars and sang a ballad, it was not well received. I think. I don't think anyone knew who he was. Harry returned to our table. Ron ordered another pitcher of brew for himself and two more glasses for us, he was having a problem with Mary. Harry joked that "we" need better lyrics, a play on words since Ron's telephone call went badly and so had Harry's brief performance Shortly, Harry and I were on our third or fourth beer and Ron was finishing his second pitcher. We were kicking about lyrics dealing with Ron; the one line I distinctly remember was'I'm a young old sodden souse'. I did not realize, it was not until about 5 years when I heard the song'If my Mary were here' and remembered this incident" With the success of the San Francisco establishment and Carlo expanded and booked time at the Muir Beach Lodge in Marin County.

They parlayed the success of a local disk jockey affectionately known as "The Buddha from Muir Beach" who ran concerts at the Lodge. They renamed the Lodge to "The Dino and Carlo Naval Base" and many of the same bands played both in San Francisco and Muir Beach Unfortunately the bar added nude dancing which outraged the local residents of Muir Beach; the residents had the Lodge condemned and a public park placed at that location