A note on my departure from my stated intention to write about what I can see from my balcony: It's possible that the MMFA is visible from my balcony. It's on the street where I live; but it's 5.6 km away. It's within the range of "what can conceivably be seen from my balcony." Anyway, I'm not really strict about rules—even the ones I make up myself (like writing only about what I can see from my balcony). I'll deviate for an interesting opportunity anytime. This opportunity was another challenge: to photograph some of the exhibits under the limitations imposed by the museum environment: no tripod; no flash; too many people milling about. I still need lots of practice.
I was drawn to the Pompeii exhibition because volcanoes are fascinating. In the past few years I've had an opportunity to see many of them, and a few of them even fairly close-up: Quezaltepeque (San Salvador) in El Salvador; Masaya in Nicaragua; and Cotopaxi and Tungurahua (I can hardly believe I didn't photograph it) in Ecuador. Both Cotopaxi and Tungurahua were threatening to erupt recently, prompting the government of Ecuador to initiate evacuation plans for people living within their reach. Their activity has subsided, but it's only a matter of time before they erupt. Their eruptions will be spectacular and very dangerous to humans and other living things. But at least people won't be taken by surprise.
Pompeii was a thriving town at the height of the Roman Empire. The art and the artifacts on exhibit show a highly civilised people with a refined aesthetic sense. These photos do not come close to reflecting the beauty of this glassware.
In 1819, when King Francis I of Naples visited the Pompeii exhibition at the Naples National Archaeological Museum with his wife and daughter, he was embarrassed by the erotic artwork ordered it to be locked away in a "secret cabinet", accessible only to "people of mature age and respected morals". Wikipedia
In 1599 Pompeii was partly uncovered when workers digging in the area found walls with frescoes. The architect Domenico Fontana examined them and then plastered over them.
Fontana's covering over the paintings has been seen both as censorship—in view of the frequent sexual content of such paintings—and as a broad-minded act of preservation for later times, as he would have known that paintings of the hedonistic kind later found in some Pompeian villas were not considered in good taste in the climate of the counter-reformation. Wikipedia