This chapter moves from painting to ’practice’. A particularly striking example both of theatricalised domestic space and activity is seen in the layout and decoration of dining rooms (triclinia), and in the range of entertainments presented within them. We examine how, responding to changes in the political, cultural and economic conditions of Roman society during this period, these private triclinium spaces and their decorative schemes were often systematic adaptations drawing upon the continuously evolving public discourse generated by theatrical entertainments. The chapter describes the range and nature of presentations that took place within the house, primarily as part of the dinner entertainments. Our focus is upon the likely venues as well as the decor of these spaces, and how, in combination, they created highly theatricalised and richly suggestive settings for performance and its reception. We include a detailed case study of the Pompeian House of Marcus Lucretius, detailing how these elements have been synthesised through the deployment of a pervasive theatricalism to create a highly appropriate setting for visitors as they move through its various rooms and spaces

Marsilio Ficino adopted the concept of love from Plato and the Neoplatonists in order to elaborate his philosophy of humanity and divinity. In commenting on Plato’s Symposium, he employed amor/eros for his philosophical theology according to which God and the universe are united: love is that which binds all levels together. As such a mediator and power, it engages humans as a species, as individuals, and in societies. Love is the formula that makes the metaphysical reality intelligible and teachable. Love divides the good from the abject and sets the standard that is attainable and binding for all.