'I know there are a few: but they meet so privately that it is impossible to discover who they are.'
As Glaucus turned away, a sculptor, who was a great enthusiast in his art, looked after him admiringly.
'Ah!' said he, 'if we could get him on the arena—there would be a model for you! What limbs! what a head! he ought to have been a gladiator! A subject—a subject—worthy of our art! Why don't they give him to the lion?'
Meanwhile Fulvius, the Roman poet, whom his contemporaries declared immortal, and who, but for this history, would never have been heard of in our neglectful age, came eagerly up to Glaucus. 'Oh, my Athenian, my Glaucus, you have come to hear my ode! That is indeed an honour; you, a Greek—to whom the very language of common life is poetry. How I thank you. It is but a trifle; but if I secure your approbation, perhaps I may get an introduction to Titus. Oh, Glaucus! a poet without a patron is an amphora without a label; the wine may be good, but nobody will laud it! And what says Pythagoras?—"Frankincense to the gods, but praise to man." A patron, then, is the poet's priest: he procures him the incense, and obtains him his believers.'
'But all Pompeii is your patron, and every portico an altar in your praise.'
'Ah! the poor Pompeians are very civil—they love to honour merit. But they are only the inhabitants of a petty town—spero meliora! Shall we within?'
'Certainly; we lose time till we hear your poem.'
At this instant there was a rush of some twenty persons from the baths into the portico; and a slave stationed at the door of a small corridor now admitted the poet, Glaucus, Clodius, and a troop of the bard's other friends, into the passage.
'A poor place this, compared with the Roman thermae!' said Lepidus, disdainfully.
'Yet is there some taste in the ceiling,' said Glaucus, who was in a mood to be pleased with everything; pointing to the stars which studded the roof.
Lepidus shrugged his shoulders, but was too languid to reply.
They now entered a somewhat spacious chamber, which served for the purposes of the apodyterium (that is, a place where the bathers prepared themselves for their luxurious ablutions). The vaulted ceiling was raised from a cornice, glowingly colored with motley and grotesque paintings; the ceiling itself was paneled in white compartments bordered with rich crimson; the unsullied and shining floor was paved with white mosaics, and along the walls were ranged benches for the accommodation of the loiterers. This chamber did not possess the numerous and spacious windows which Vitruvius attributes to his more magnificent frigidarium. The Pompeians, as all the southern Italians, were fond of banishing the light of their sultry skies, and combined in their voluptuous associations the idea of luxury with darkness. Two windows of glass alone admitted the soft and shaded ray; and the compartment in which one of these casements was placed was adorned with a large relief of the destruction of the Titans.
In this apartment Fulvius seated himself with a magisterial air, and his audience gathering round him, encouraged him to commence his recital.
The poet did not require much pressing. He drew forth from his vest a roll of papyrus, and after hemming three times, as much to command silence as to clear his voice, he began that wonderful ode, of which, to the great mortification of the author of this history, no single verse can be discovered.
By the plaudits he received, it was doubtless worthy of his fame; and Glaucus was the only listener who did not find it excel the best odes of Horace.
The poem concluded, those who took only the cold bath began to undress; they suspended their garments on hooks fastened in the wall, and receiving, according to their condition, either from their own slaves or those of the thermae, loose robes in exchange, withdrew into that graceful circular building which yet exists, to shame the unlaving posterity of the south.
The more luxurious departed by another door to the tepidarium, a place which was heated to a voluptuous warmth, partly by a movable fireplace, principally by a suspended pavement, beneath which was conducted the caloric of the laconicum.
Here this portion of the intended bathers, after unrobing themselves, remained for some time enjoying the artificial warmth of the luxurious air. And this room, as befitted its important rank in the long process of ablution, was more richly and elaborately decorated than the rest; the arched roof was beautifully carved and painted; the windows above, of ground glass, admitted but wandering and uncertain rays; below the massive cornices were rows of figures in massive and bold relief; the walls glowed with crimson, the pavement was skillfully tessellated in white mosaics. Here the habituated bathers, men who bathed seven times a day, would remain in a state of enervate and speechless lassitude, either before or (mostly) after the water-bath; and many of these victims of the pursuit of health turned their listless eyes on the newcomers, recognizing their friends with a nod, but dreading the fatigue of conversation.
From this place the party again diverged, according to their several fancies, some to the sudatorium, which answered the purpose of our vapor-baths, and thence to the warm-bath itself; those more accustomed to exercise, and capable of dispensing with so cheap a purchase of fatigue, resorted at once to the calidarium, or water-bath.
In order to complete this sketch, and give to the reader an adequate notion of this, the main luxury of the ancients, we will accompany Lepidus, who regularly underwent the whole process, save only the cold bath, which had gone lately out of fashion. Being then gradually warmed in the tepidarium, which has just been described, the delicate steps of the Pompeian elegant were conducted to the sudatorium. Here let the reader depict to himself the gradual process of the vapor-bath, accompanied by an exhalation of spicy perfumes. After our bather had undergone this operation, he was seized by his slaves, who always awaited him at the baths, and the dews of heat were removed by a kind of scraper, which (by the way) a modern traveler has gravely declared to be used only to remove the dirt, not one particle of which could ever settle on the polished skin of the practised bather. Thence, somewhat cooled, he passed into the water-bath, over which fresh perfumes were profusely scattered, and on emerging from the opposite part of the room, a cooling shower played over his head and form. Then wrapping himself in a light robe, he returned once more to the tepidarium, where he found Glaucus, who had not encountered the sudatorium; and now, the main delight and extravagance of the bath commenced. Their slaves anointed the bathers from vials of gold, of alabaster, or of crystal, studded with profusest gems, and containing the rarest unguents gathered from all quarters of the world. The number of these smegmata used by the wealthy would fill a modern volume—especially if the volume were printed by a fashionable publisher; Amaracinum, Megalium, Nardum—omne quod exit in um—while soft music played in an adjacent chamber, and such as used the bath in moderation, refreshed and restored by the grateful ceremony, conversed with all the zest and freshness of rejuvenated life.
'Blessed be he who invented baths!' said Glaucus, stretching himself along one of those bronze seats (then covered with soft cushions) which the visitor to Pompeii sees at this day in that same tepidarium. 'Whether he were Hercules or Bacchus, he deserved deification.'
'But tell me,' said a corpulent citizen, who was groaning and wheezing under the operation of being rubbed down, 'tell me, O Glaucus!—evil chance to thy hands, O slave! why so rough?—tell me—ugh—ugh!—are the baths at Rome really so magnificent?' Glaucus turned, and recognized Diomed, though not without some difficulty, so red and so inflamed were the good man's cheeks by the sudatory and the scraping he had so lately undergone. 'I fancy they must be a great deal finer than these. Eh?' Suppressing a smile, Glaucus replied:
'Imagine all Pompeii converted into baths, and you will then form a notion of the size of the imperial thermae of Rome. But a notion of the size only. Imagine every entertainment for mind and body—enumerate all the gymnastic games our fathers invented—repeat all the books Italy and Greece have produced—suppose places for all these games, admirers for all these works—add to this, baths of the vastest size, the most complicated construction—intersperse the whole with gardens, with theatres, with porticoes, with schools—suppose, in one word, a city of the gods, composed but of palaces and public edifices, and you