17 One of the things I found most striking about the many different audiences with whom I shared the exhibition— students, alumnae, local adult visitors and many colleagues from across the country—was how, with remarkable consistency, they all appreciated the fact that this was an exhibition which featured lived experience at all social levels. Both the selection of objects and the exhibition’s explicit juxtaposition of the luxury villa (Villa A) with the wine emporium which was Oplontis B made this possible, as visitors could readily see that workaday goods and luxuries were to be found in both and that varied daily interactions with them was a commonplace for everyone from the elite to the household slave. The drawing of the 52 skeletons from Oplontis B and their jewelry and other personal possessions on display also never failed to touch the hearts of visitors. Some of my favorite conversations were with studio art students who marveled at the vivid colors in the fresco fragments on display. Because they could view them at such close range they could also see definite traces of the hand of a fellow artist in the 1st century CE. I remember one student from my Pompeii course bringing me over to the case to share with me the faint trace lines she’d discovered on one fragment which allowed the artist to paint the meander pattern freehand—“Exactly what I would do!” she said, as past and present met. ARE THERE LASTING WAYS THAT THIS EXHIBITION WILL IMPACT YOUR OWN SCHOLARLY WORK AND TEACHING? Well, of course I’ll miss not having the exhibition at hand every time I teach this material! Seriously, though, the immediacy of the presence of these objects and the intimacy of being able to commune with them on a near- daily basis will certainly continue to have a profound impact on both my scholarship and my teaching. I am already at work on an article on the strongbox from Oplontis B, one of the exhibition showstoppers. “Let Sleeping Dogs Lie…” focuses on the decoration and social use of this magnificent example. The resonances of the exhibition beyond that, however, are already numerous. For instance, the experience of trying to convey to various audiences the vastness of Villa A and how little light even the largest oil lamps in the exhibit shed has reminded me of just how dark night was in antiquity and how much that needs to be taken into consideration for art and its viewership. Providentially the topic for the 2018 Leiden/University of Pennsylvania colloquium is Between Dusk and Dawn: Valuing Night in Classical Antiquity, so I plan to submit a paper on nocturnal scenes in a grand dining room in Pompeii as they would have appeared by flickering lamplight. In many senses, then, the Oplontis exhibition will live on. ABOVE: Barbara Kellum’s students with the model of “Oplontis Villa A”