Villa of the Mysteries

The famous frescoes of the Villa were first discovered in April of 1909, but they were soon damaged by a combination of poor protection from the elements and an earthquake which occurred in June.[8] The major problems which developed were damp and salt residues which leached from the ground, causing white stains to appear on the surface of the paintings. To counteract this, large sections of the frescoes were removed and re-attached after the walls were rebuilt with new stone to better resist the damp and salt leaching.

According to the preservation methods prevalent at the time, coatings of wax and petroleum were applied to remove the residues and provide protection, which accounts for the glossy sheen which was characteristic of the frescoes in the 20th/early 21st centuries. These coatings proved remarkably effective in protecting the paintings from further damage, even though one of the side effects was that they distorted the original coloring, making the red background appear darker than the original pigment.[8][9] Later in 1909, a German team of archaeologists arrived and undertook further restorations.

Between 2013 and 2015, restorations were undertaken on the frescoes using modern techniques. This included treatment with the antibiotic amoxicillin, which removed the manganese dioxide which had leached into the paintings from the ground, and the streptococci bacteria which feed on the pigments and cause deterioration.[9] Other treatment included the analysis and restoration of the original color tones, after laser technology was used to remove the layers of wax and petroleum applied in the early 20th century.[10][11]

There are many different interpretations of the frescoes, but they are commonly 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.[6]

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 widely 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.[6]

• The first mural shows a noble Roman woman (possibly the initiate's mother, who can cross no further) approaching a priestess or matron seated on a throne, by which stands a small boy reading a scroll – presumably 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.[12]
• The second mural depicts another priestess (or senior initiate) and her assistants preparing the liknon basket; at her feet are the legs of the bench she is sitting on that could be mistaken as mushrooms. At one side a Silenus (a creature part man and part horse) is playing a lyre. (Silenus, the name of the tutor and companion of Bacchus, was also a general term used to describe his mythological species.)[12]
• The third mural shows a satyr playing the panpipes and a nymph suckling a goat in an Arcadian scene. To their right, the initiate is in a panic. This is the last time we see her for a few scenes; when she appears again, she has changed. Some scholars think katabasis has occurred.[12]
• 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 (this may parallel the mirror into which young Bacchus stares in the Orphic rites). Next to them sits a goddess, (Ariadne or Semele), with Bacchus lying across her lap.[12]
• The fifth mural shows the initiate returning. She now carries a staff and wears a cap, items often presented after the successful completion of an initiation ordeal. She kneels before the priestess, and appears to be whipped by a winged female figure. Next to her is a dancing figure (a Maenad or Thyiad) and a gowned figure with a thyrsus (an initiation symbol of Bacchus) made of long stalks of wrapped fennel, with a pine cone on top.[12]
• In the sixth mural her penultimate appearance we see her being prepared with new clothes, while Cupid holds up a mirror to her. After this scene, there is another image of Cupid.[12]
• Finally, in the seventh Mural the initiate is shown enthroned and in an elaborate costume. This is all we know of the Roman rites of initiation.[12][13][14]