Hơn nữa, người quan sát đối mặt với một hình ảnh đồng thời bao phủ panoramatically và vận chuyển họ vào một Để tăng cường hiệu lực của ảo tưởng và duy trì liên tục, ánh sáng rơi vào buồng từ một mở trong các bức tường ngay bên dưới | 18. Archaeological research is aware that despite all observations based on the images themselves it is not possible to interpret the representation of the mysteries reliably without better knowledge of Greek panel painting. Thus the present utterly desolate state of a city plundered by excavation gives only the merest hint of an entire people s love of art and pictures of which the keenest art lover now has neither understanding nor feeling nor need Goethe 1899 p. 38. Goethe s remarks on Pompeii after his visit in March 1787 are still justified. 19. After much disagreement archaeologists have finally settled on this date see Helbig 1969 p. 454 and more recently Ling 1991 p. 150. 20. In 1951 to 1952 the frescoes were moved to the Museo dei Termi in Rome. 21. See Gabriel 1955 for a detailed description. 22. In this room one fancies oneself removed to a grotto from whence one looks out over a lush green garden . full of birds. Andreae 1973 p. 93 and Ling 1991 p. 150 The occupants of what was perhaps a cool dining room for summer use were clearly intended to feel themselves transported into the open air. There were other methods to transport the observer into an illusion space. For example the Birdhouse of Varro at Casinum of which only written records survive De re rustica 3 2 pp. 1ff. used three-dimensional means. A round building used mainly as a dining room was surrounded by two concentric rings of columns. The space between the columns enclosed by fine-mesh netting was an aviary filled with numerous exotic birds. A small park surrounded the building which was in its turn cut off from the rest of the world by a wall. The guests at the center of this complex had the impression of being out of doors in an exotic landscape. Under the dome of the building a complicated mechanical apparatus showed the morning star during the day and the evening star at night. The visitor was in an extended space of illusion. See Fuchs 1962 p. 104 Everything had the same aim to make the
