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.

Glaucus and Ione enjoy each other's company in Pompeii before Vesuvius erupts in AD 79, but Ione's jealous guardian loves her and has criminal interests.

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.