Abstract
This article explores new sources for Klimt's use of Egyptian motifs in the 1905–11 Stoclet Frieze: the aesthetic theories and tastes of Father Desiderius Lenz of the Beuron School, an exhibition of Beuron art in Vienna, Theodor Graf's collection of Fayyum portraits, and contemporary dance in the Austrian capital. An interpretation of the Frieze is here offered based on Plutarch's account of the legend of Isis and Osiris. This tale of discord, death, and rebirth was relevant for Klimt personally and for the Klimt Group following their break from the Vienna Secession in 1905.
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