On the left of the picture, on a little eminence, is a group of three females round a column having on its top a vase. The chief and central figure, which is naked to the waist, has in her hand a fan; she seems to look with interest on the drunken hero, but whom she represents it is difficult to say. On the right, half way up a mountain, sits Bacchus, looking on the scene with a complacency not unmixed with surprise. He is surrounded by his usual rout of attendants, one of whom bears a thyrsus. The annexed engraving will convey a clearer idea of the picture, which for grace, grandeur of composition, and delicacy and freshness of coloring, is among the best discovered at Pompeii. The exedra is also adorned with many other paintings and ornaments which it would be too long to describe.
On the same side of the atrium, beyond a passage leading to a kitchen with an oven, is an elegant triclinium fenestratum looking upon an adjacent garden. The walls are black, divided by red and yellow zones, with candelabra and architectural members intermixed with quadrupeds, birds, dolphins, Tritons, masks, etc., and in the middle of each compartment is a Bacchante. In each wall are three small paintings executed with greater care. The first, which has been removed, represented Æneas in his tent, who, accompanied by Mnestheus, Achates, and young Ascanius, presents his thigh to the surgeon, Iapis, in order to extract from it the barb of an arrow. Æneas supports himself with the lance in his right hand, and leans with the other on the shoulder of his son, who, overcome by his father's misfortune, wipes the tears from his eyes with the hem of his robe; while Iapis, kneeling on one leg before the hero, is intent on extracting the barb with his forceps. But the wound is not to be healed without divine interposition. In the background of the picture Venus is hastening to her son's relief, bearing in her hand the branch of dictamnus, which is to restore him to his pristine vigor.
The subject of the second picture, which is much damaged, is not easy to be explained. It represents a naked hero, armed with sword and spear, to whom a woman crowned with laurel and clothed in an ample peplum is pointing out another female figure. The latter expresses by her gestures her grief and indignation at the warrior's departure, the imminence of which is signified by the chariot that awaits him. Signor Fiorelli thinks he recognizes in this picture Turnus, Lavinia, and Amata, when the queen supplicates Turnus not to fight with the Trojans.
The third painting represents Hermaphroditus surrounded by six nymphs, variously employed.
From the atrium a narrow fauces or corridor led into the garden. Three steps on the left connected this part of the house with the other and more magnificent portion having its entrance from the Strada Stabiana. The garden was surrounded on two sides with a portico, on the right of which are some apartments which do not require particular notice.
The house entered at a higher level, by the three steps just mentioned, was at first considered as a separate house, and by Fiorelli has been called the House of the Russian Princes, from some excavations made here in 1851 in presence of the sons of the Emperor of Russia. The peculiarities observable in this house are that the atrium and peristyle are broader than they are deep, and that they are not separated by a tablinum and other rooms, but simply by a wall. In the centre of the Tuscan atrium, entered from the Street of Stabiæ, is a handsome marble impluvium. At the top of it is a square cippus, coated with marble, and having a leaden pipe which flung the water into a square vase or basin supported by a little base of white marble, ornamented with acanthus leaves. Beside the fountain is a table of the same material, supported by two legs beautifully sculptured, of a chimæra and a griffin. On this table was a little bronze group of Hercules armed with his club, and a young Phrygian kneeling before him.
From the atrium the peristyle is entered by a large door. It is about forty-six feet broad and thirty-six deep, and has ten columns, one of which still sustains a fragment of the entablature. The walls were painted in red and yellow panels alternately, with figures of Latona, Diana, Bacchantes, etc. At the bottom of the peristyle, on the right, is a triclinium. In the middle is a small œcus, with two pillars richly ornamented with arabesques. A little apartment on the left has several pictures.
In this house, at a height of seventeen Neapolitan palms (nearly fifteen feet) from the level of the ground, were discovered four skeletons together in an almost vertical position. Twelve palms lower was another skeleton, with a hatchet near it. This man appears to have pierced the wall of one of the small chambers of the prothyrum, and was about to enter it, when he was smothered, either by the falling in of the earth or by the mephitic exhalations. It has been thought that these persons perished while engaged in searching for valuables after the catastrophe.
In the back room of a thermopolium not far from this spot was discovered a graffito of part of the first line of the Æneid, in which the rs were turned into ls:
Alma vilumque cano Tlo.
We will now return to the house of Siricus. Contiguous to it in the Via del Lupanare is a building having two doors separated with pilasters. By way of sign, an elephant was painted on the wall, enveloped by a large serpent and tended by a pigmy. Above was the inscription: Sittius restituit elephantum; and beneath the following:
Hospitium hic locatur
Triclinium cum tribus lectis
Et comm.
Both the painting and the inscription have now disappeared. The discovery is curious, as proving that the ancients used signs for their taverns. Orelli has given in his Inscriptions in Gaul, one of a Cock (a Gallo Gallinacio). In that at Pompeii the last word stands for "commodis." "Here is a triclinium with three beds and other conveniences."
Just opposite the gate of Siricus was another house also supposed to be a caupona, or tavern, from some chequers painted on the door posts. On the wall are depicted two large serpents, the emblem so frequently met with. They were the symbols of the Lares viales, or compitales, and, as we have said, rendered the place sacred against the commission of any nuisance. The cross, which is sometimes seen on the walls of houses in a modern Italian city, serves the same purpose. Above the serpents is the following inscription, in tolerably large white characters: Otiosis locus hic non est, discede morator. "Lingerer, depart; this is no place for idlers." An injunction by the way which seems rather to militate against the idea of the house having been a tavern.
The inscription just mentioned suggests an opportunity for giving a short account of similar ones; we speak not of inscriptions cut in stone, and affixed to temples and other public buildings, but such as were either painted, scrawled in charcoal and other substances, or scratched with a sharp point, such as a nail or knife, on the stucco of walls and pillars. Such inscriptions afford us a peep both into the public and the domestic life of the Pompeians. Advertisements of a political character were commonly painted on the exterior walls in large letters in black and red paint; poetical effusions or pasquinades, etc., with coal or chalk (Martial, Epig. xii. 61, 9); while notices of a domestic kind are more usually found in the interior of the houses, scratched, as we have said, on the stucco, whence they have been called graffiti.
The numerous political inscriptions bear testimony to the activity of public life in Pompeii. These advertisements, which for the most part turn on the election of ædiles, duumvirs, and other magistrates, show that the Pompeians, at the time when their city was destroyed, were in all the excitement of the approaching comitia for the election of such magistrates. We shall here select a few of the more interesting inscriptions, both relating to public and domestic matters.
It seems to have been customary to paint over old advertisements with a coat of white, and so to obtain a fresh surface for new ones, just as the bill-sticker remorselessly pastes his bill over that of some brother of the brush. In some cases this new coating has been detached, or has fallen off, thus revealing an older notice, belonging sometimes to a period antecedent to the Social War. Inscriptions of this kind are found only on the solid stone pillars of the more ancient buildings, and not on the stucco, with which at a later period almost everything was plastered. Their antiquity is further certified by some of them being in the Oscan dialect; while those in Latin are distinguished from more recent ones in the same language by the forms of the letters, by the names which appear in them, and by archaisms in grammar and orthography. Inscriptions