During the fifty years that have elapsed since the great cycle of Dionysiac paintings was unearthed in the villa named after them at Pompeii, the search for their understanding has made reassuring progress. This search will never lead us out of ultimate ignorance about the deepest meaning which such visual imagery had within the context of an ancient mystery religion and we may resign ourselves to awareness of our own limitations in this respect. The best we can hope for is that we may learn to understand the surface meaning of images, whose full significance was only made clear to the initiated, to the degree to which, in antiquity, an uninitiated person could understand them. The last two published extensive discussions of this cycle of murals show clearly, however, that we are still far from having achieved even that degree of understanding. The impasse that has been reached can be overcome only by introducing new evidence and it is my hope that some progress can be made by doing so in the following pages.