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428 PHOENIX Thebookisrichly illustrated andtoMitchell's credit includes notonly comic images, butalsomany serious typical scenes onwhich thecomic paintings riff ("toparody a model istopayhomage toit," hewrites, 221and307). He includes many ofhisown drawings, but, sadly, they arenotofhigh quality orcrispness, andthough hecanrarely rise tothedelicacy ofBeazleys orAdolf Furtwänglers orKarl W. Reichhold's drawings (seefig. 137),some ofwhich healsoincludes, many arecrude Rorschach blots that spoil the viewers pleasure (esp.fig. 12). 5 He alsodispenses with theoldtrick ofgray shading tosupplement fragmentary bits exempli gratia ,which helps one"read" animage without compromising scholarly accuracy. I learned much from this book:I found outwith interest that there were women vasepainters (23),andwith someinvoluntary shrinkage that nudeGreek gymnasts safetypinned their penises totheir thighs (319) - for "comfort," Mitchell suggests (188).The bookbristles with errors, a full listofwhich would bloatthisreview tounpublishable length. Prominent area persistent inability tospellTractatus Coislianus , Cervetri andJohn Hopkins, aswellastheoddGallicism (e.g.,"collectioners" for "collectors" on22andintrusive definite articles passim). Queen'sUniversity R.DrewGriffith Latin Poets and Italian Gods. ByElaine Fantham. Toronto: University of Toronto Press (Robson Classical Lectures). 2009.Pp.229. Thestudy ofRoman religionhasexperienced anundeniable boom inthelasttwenty years.Thepublication ofseveral very goodmonographs, anthologies, textbooks, and sourcebooks havemadethebasicsources anda variety oftheoretical approaches easily available andwidely read.Inthis new study, Fantham attempts tofill a gapinattention, turning her gazeandthereader's away from thepoets' representations oftheOlympians andthemajor godsoftheRoman state totheir engagement with localgods, thegods ofthefields, woods, springs, andcountryside that would havebeenreadily accessible for humble individual worship. I willsayfrom thestart that tomymind thestrongest contribution ofthebookisFantham's demonstration that these rustica numina hada life not justintheelse-where andelse-when oftheRoman countryside, orintheidealized world ofliterature, butinthecities andtowns as well, where springs andgroves and shrines hada realpartin Roman religious life,anda complicated placein Roman sentiment. Thevolume under review consists oftwovery different parts.PartI, "Honouring theItalian Gods," emerged from a setofRobson lectures delivered in2004;these three chapters aresupplemented bya further three inPartII, "Counter-Examples, andthe Triumph ofArtistry over Fading Devotion." Witha bitofspecial pleading, Fantham justifies the integration ofthe two parts inonevolume byevoking the image ofa "diptych basedonthecontrast between thedevotion andwilltobelieve common totheAeneid andFasti andthesense ofdetached fantasy with which Ovidtreats nonRoman myths in theMetamorphoses' (ix-x).Inherfirst chapter inPart I ("Rustica Numina : TheCountry 5Forexample, drawings by J.D. Beazley (from the Beazley Archive, Oxford): fig. 24;by A. Furtwängler andK. Reichhold (Griechische Vasenmalerei: Auswahl hervorragender Vasenbilder [Munich 1904-1932]): figs. 21,41,43,46,52,58,66,87,91,109, 110and 112. BOOK REVIEWS/COMPTESRENDUS 429 GodsofItaly andTheir Reception inRoman Poetry") Fantham conducts a setofgentle investigations intothecults ofthedivinities shemeans tostudy, presenting boththe earliest literary, epigraphical, andhistorical evidence andevidence for continued cult well intotheimperial period. On thewhole, Fantham treats theevidence with respect and skill, giving thereader tempting glances into active cults ofsprings, rivers (especially the Tiber), andlakes. Thechapter ismost adventurous andmost convincing initstreatment ofFaunus, theaniconic divinity ofthewilds andofprophetic speech, blended with and sometimes supplanted bybothPanandSilvanus. Fantham's particular interest inthis godis marked byherinclusion ofanAppendix attheendofChapter Onegathering inscriptions related to hiscult.The focus returns to Faunus more thanonceinthe following chapters andinthelatter half ofthischapter, inwhich Fantham considers theappearance of"country gods" inTibullus, Horace, anda few other imperial poetic contexts. Inthesecond chapter, "Vergil's GodsoftheLand," Fantham moves quickly through the Eclogues (where Italian godsarelargely subordinated toGreek ones)andtheGeorgics (where CeresandLiberdominate), andgives particular attention tothebooks ofthe Aeneid that play outinanItalian landscape. Though thediscussion is attimes rather poorly organized, Fantham succeeds incumulatively demonstrating that Vergil treats the Italian godsabove allasgodsofaplace ,with a close protective relationship tothepeople that belong tothat place.Thisinsight intothesentiment attached tothegodsofthe landfills outnicely thefirst half ofthepreceding chapter. There is,onceagain, a sizable section devoted toFaunus as a special caseat46-48. Fantham concludes thechapter ona dark note with a discussion (heavily dependent onR.Thomas, "Tree Violation and Ambivalence inVirgil," ТАРА 118[1988]261-274) ofAm.12.766-790, where Aeneas' spear sticks inthestump ofa tree sacred toFaunus, butcleared for thesake ofthebattle bytheTrojans: "Virgil hasleft nodoubt astohowweshould readtheTrojan action here, andwecanseeinthesuppression oftheoldcountry gods. .. thespiritual loss which must come with theonset oftheneworder" (62). Fantham's focus intheVergilian chapter ondivinities ofplacefeeds nicely intothe final chapter ofthebook's first half, "Ovid's FastiandtheLocalGodsoftheCity." Readers unfamiliar with theFastiwillbenefit from this survey ofOvid's representation of"local gods," andtherecurring presence ofrivers, springs, andgroves inthedivine landscape isstriking; Faunus, too,makes anappearance (83-84).There islittle groundbreaking inthis chapter, butitfills...
Their travels are supposed to provide reviews for a British paper, but the premise is really just an excuse for director Michael Winterbottom to capture breathtaking landscapes, take in the hustle and bustle and artistry of fine dining kitchens and let Coogan and Brydon riff off one another.
The kitchen manages some cute riffs on bar food. What's billed as "barese sausage" is actually a clever twist on the Scotch egg, beginning with a taleggio-stuffed olive wrapped in sausage and deep fried. Pizzas resemble focaccia tartines, arriving as two large triangles with various toppings. The country bacon with caramelized onions and creme fraiche is essentially a nod to Alsatian tarte flambee; adventurous palates will love the version with smoked eggplant, roasted garlic and house-made burrata.