Adjacent to the tholoi wall-paintings in Bedroom M are depictions of naiskoi (shrines) housing statues of divinities. The West wall depicts Hekate within a naiskos, holding burial torches (fig.1) and the same emblematic image is reproduced in the entrance to a cave depicted on the end wall of Bedroom M (fig.2). Both these wall-paintings and their mirror images on the opposing east wall, are yet more examples of the generic diversity associated with false-door compositions. The west wall depicts the goddess Juno (Hera) in a similar naiskos to that which houses Hekate (fig.3). Both divinities are protected by doors topped with spikes that leave the viewer in no doubt as to their sanctity. The theme of divinity worship is highlighted by the incense altars placed in font of the closed doors that lead to the sanctuaries.

Ritual Worship and Culinary Offerings

The presence of ritual offerings is a consistent feature of false-door wall-painting and it is denoted through a variety of visual metaphors and symbols. For example, the tholoi wall-painting on the east wall of Bedroom M, Villa di P. Fannius Synistor, contains a pomegranate and a quince emblematic of the presence of Persephone and Hera (Juno), in addition to an incense altar (fig.4). The blocked up entrance in the tholos painting in the Casa del Labirinto appears to have an image of an altar table painted upon it and on either side dead fowl hang waiting to be eaten.

A very revealing example of a votive culinary offering is depicted in Casa di Marcus Lucretius Fronto. It is set into a complex configuration consisting of an Apollonian tripod with half-open doors either side (fig.5). At the base of the tripod is a vignette depicting dead fish. Its somewhat strange location, almost overlapping the base of the tripod, suggests that the fish are intended as votive offerings for Apollo. (With regard to the social significance of culinary votive offerings, which the Christians referred to as 'idol-food', see Gooch 1993. Dangerous Food. )