in connection with the smaller Theatre and the Amphitheatre; a son
or other relative may of course have borne the same name. The third
monument on the left hand side again takes the form of a semicircular
seat, it marks the spot where the priestess Mamia was buried (behind
the seat). We need not dwell on the pleasing thoughts aroused in the
beholder when he recognises that the monument here assumes a form
specially useful to the living, and affording rest to the wearied
wanderer. Behind Mamia’s seat a large sepulchral building is preserved,
in the chamber of which niches for the urns containing ashes are to
be seen (fig. 137). As is proved by several inscriptions, the tomb
belonged to the distinguished Pompeian family of the Istacidii. After
this comes a now closed street, which according to an inscription seems
to have led to the bathing establishment of M. Crassus Frugi. This
included, as we know from other sources, a medicinal spring rising out
of the sea. That the sea came up nearer Pompeii than is now the case
has already been stated. Here the buryingplaces on the left cease for
some distance, and there follows a villa site, now once more covered
with ashes _etc._, in which, without sufficient ground, people have
sought to recognise a villa of Cicero (who is known to have possessed a
villa at Pompeii). Let us therefore retrace our steps to the Gate, to
examine the graves placed on the righthandside.
[Illustration: Fig. 137 Interior of a Grave (p. 101).]
[Illustration: Fig. 138. Vessel of blue Glass (p. 103).]
[Illustration: Fig. 139. Herm-cippus (p. 104).]
Here first meets us a large altar-shaped grave without inscription in
the chamber of which, when opened a few years ago, two clay vessels
were found enclosed for better preservation in leaden covers, which
contained the remains of bones covered with a cloth, together with a
coin of the time of Augustus. Coins are frequently found placed with
the remains. Although originally the idea of such parting gifts was
that the property left was thereby purchased from the deceased, the
earnest money as it were being handed to him to prevent his return, yet
gradually the belief became universal that passage money was handed to
the dead man for Charon, whose boat was to carry him to the Underworld.
As long as the dead body was buried in the earth, it was the custom to
lay the coin in the mouth; when burning came into vogue in place of
burial, it was quite natural that the coin should still be added to
the remains. The second tomb on the right was erected to the Aedile M.
Terentius Felix Major, by his widow Flavia Sabina, after the city had
granted not only the site, but also a contribution of 2000 sesterces
(about 21 pounds). The remains of M. Terentius were discovered under
the table on the left, in a glass vessel, doubly protected by being
placed in a terracotta urn and wrapped in lead. Of the graves that
follow, number 6 deserves special notice, the Grave of the Garlands,
so called from the ornament affixed on one side. The structure is
solid; nevertheless there will be found in all probability a sepulchral
chamber underneath, but as yet no search for it has been made. The
grave no. 8 is famous for the discovery of the blue glass vessel (fig.
138) now in Naples, representing the vintage in white relief on a
blue ground. To the cheerful sound of flutes and the syrinx, a Genius
carries grape clusters to a vessel, in which another treads them down,
as he merrily swings the thyrsus, while on the other side the gathering
of grapes and the enjoyment of wine are brought to view. Most charming
however is the network of twining tendrils that form a web around the
whole vase. Then comes a semicircular niche, as to which it is doubtful
whether it has actually served for a funeral monument. It was certainly
erected for this purpose, but since the space for the inscription in
the pediment has remained unfilled, it seems as though the purpose for
which it was originally intended had not been carried out.
[Illustration: Fig. 140. Sepulchral Monument of Naevoleia Tyche (p.
105).]
At this point the graves come to an end on the right side also, and
there appear two villas bordering on the road, which have profited
by their favourable position through the construction of shops and
taverns for those passing along the street. From the mosaic fountain
there to be seen come the four pillars covered with mosaic, that have
been taken to the Naples Museum; they supported a pavilion in front
of the fountain. On the other hand the tombs soon begin again on the
left (fig. 136); in the first place one which passes for an unfinished
structure, because its upper portion is not completely preserved; here
is a gravestone the peculiar shape of which is found outside Pompeii
only at Sorrento, a stone formed in imitation of a bust, on the back
of which plaits of hair hang down; on the smooth surface in front it
bears the inscription.--_Junoni Tyches Juliae Augustae vener._ While
the Genius is the protecting spirit of the man, the Juno takes this
place in the case of women; the Tyche whose remains are buried here was
probably a favourite slave of Julia Augusta, i. e. of Livia, but the
meaning of _vener_ is at least doubtful (fig. 139).
[Illustration: Fig. 141. Villa of Diomedes (p. 105).]
One of the most important monuments is the next one, belonging to
Umbricius Scaurus, erected by his father, when the Town Council had
granted the site and 2000 sesterces. The chief interest of this
monument consists in the stucco reliefs with which the front walls and
the steps of the altar are adorned, and which represent scenes from the
Amphitheatre, gladiatorial combats and wildbeast hunts. The deceased
had once given these spectacles to his native city, so that the father
could bethink himself of preserving the remembrance of this liberality
by the ornamentation of the monument. Next comes the so-called Round
Tomb, which in the interior has a peculiarly vaulted chamber with three
niches, in the bottom of which the urns are fixed in masonry and closed
with covers, just as in the Roman _columbaria_. Further on the grave
of the Augustal, Calventius Quietus, demands our special notice, on
whom on account, of his munificence the Town Council had conferred the
honour of the _bisellium_, i. e. had given him the right to sit on a
special seat in the Theatre among the Town Councillors. The _bisellium_
is depicted on the monument. Particularly striking, however, through
its ornaments executed in relief, is the tomb of Naevoleia Tyche,
which she, according to the inscription, erected to herself and C.
Munatius Faustus, to whom also the Town Council had granted the honour
of the _bisellium_ (fig. 140). Over the inscription is represented
the portrait of the foundress, and underneath a sacrifice to the
dead, while the flanks of the altar show on one side the _bisellium_
granted to Munatius, on the other side a ship, the sails of which are
reefed. By this no doubt allusion is made to the end of life. In the
gravechamber were found, with other more simple vases of terracotta,
three vases of glass, which were enclosed in a lead wrapping, and in
which the contents were preserved intact; they contained the burnt
bones in a fluid made up of water, wine, and oil mixed together.
After this comes the _triclinium funebre_ mentioned before, a place in
which the funeral feasts were usually held. The triclinium is in its
general features not different from those occurring in private houses,
one sees three couches of masonry (with the higher end inwards) round a
table on which the food was placed. With this ends the series of tombs
on the left hand.
[Illustration: Fig. 142. Urania (p. 89).]
On the righthand our special attention is claimed by the tomb with the
marble door. The interior of the tomb was occupied by various urns
of ashes, yet the exterior was still incomplete, the coating with
squared stones originally contemplated is not entirely executed. Here
a street turns off to the right, in which the Oscan graves previously
mentioned were discovered. Of the tombs on the rising ground between
the two streets that of M. Arrius Diomedes should be mentioned, which
he erected to his former lady Arria, himself, and his family. Not as
though this were distinguished above others, but because the Villa
lying opposite the tombs has been designated as that of Diomedes. This
Villa of Diomedes requires more careful consideration before we quit
Pompeii (fig. 141).
By a slope rising from the Street of Tombs we reach the door, which,
corresponding to the precepts of Vitruvius for villas, leads straight
into the peristyle. Among the chambers accessible from this are
first, on the side of the street, the bathrooms; here we distinguish
the _piscina_, that is the basin for the cold bath; further the
_tepidarium_, the air of which was warmed by an opening from the
_caldarium_, and which, on the garden side, was closed by a window
with four thick panes of glass; then the _caldarium_, the room for
the sweating-bath, the floor and walls of which were arranged for
conducting the heat in the way we have seen in the Public Baths.
Warm air and hot water were supplied from the kitchen close at hand.
Still more interesting is a sleeping-apartment, also reached from the
peristyle, in front of which is a room for the _cubicularis_, the
valet. The sleeping-apartment itself is built out into the garden
in a semicircle, here are placed three large windows which supplied
light and air, but could be quite closed by shutters according to
requirement. That even there fresh air should not be wanting was
provided for by a small quadrangular opening placed above. At the back
is seen the alcove for the bed, which was cut off by a curtain; the
rings for this were found when the excavation took place; close by we
observe a hollow in the masonry, presumably a sort of wash-hand basin.
[Illustration: Fig. 143. Bronze Bowl (p. 68).]
[Illustration: Fig. 144. Boy with Duck]
Below these parts of the establishment, and approached by stairs,
and having a separate communication with the sloping street, lies, a
series of domestic offices, slaves’ rooms _etc._, of which nothing
need be said. Then we pass into the garden, a large pleasure-ground
surrounded by a colonnade, and with a large basin and fountain in the
centre, and an open portico supported by six columns. At the further
end of the colonnade lay a small room, from which, as from the middle
of the portico, a door led into the open air; here at the time of
the excavation were found two skeletons, those as it is supposed of
the master of the house and his servant; the former had a gold ring
on his finger and a large key in his hand, and near him lay ten gold
and eighty-eight silver coins. Both then had striven to reach the
open air, but had perished in doing so. Still more terrible was the
fate of his family and dependants; eighteen adults and two children
had fled for refuge to the large room under the colonnade, marked as
a wine-cellar by the numerous amphorae leaning against the walls, to
which light and air were admitted from the courtyard through small
windows; all perished miserably when the masses of pumice-stone had
cut off their escape. The ashes pressing in had enveloped them and
faithfully preserved their forms; unfortunately at the time when this
villa was excavated the process of taking plaster-casts had not yet
been invented, and so the moulds thus formed were destroyed; it has
been possible to preserve only one portion, the impression of the neck,
shoulders, and breast of a young girl, to judge by the impression
faultlessly beautiful, and wearing a dress of the finest material. This
mould is exhibited in the Museo Nazionale at Naples.
We now come to the end of our story. The romantic histories that
have been recounted as to the destruction of Pompeii, the sentinel
who refused to desert his post, and thus met his death, the closely
embracing pair of youthful lovers overwhelmed in the street leading
from the Theatre to the Forum, the men said to have been surprised
by the eruption of Vesuvius in the midst of the funeral feast at the
_Triclinium funebre_ in the Street of Tombs--all this and whatever
else the ever active imagination has invented to depict the fate of
the city with all possible horror, are thrown deep into the shade
by the reality which the excavations reveal; we cannot depict to
ourselves darkly enough the scenes enacted in Pompeii on the 24th of
August in the year 79. And yet posterity has every reason to thank
the chance that throughout so many centuries has preserved for us an
ancient Roman city almost untouched. One cannot shut out from oneself
the thought that the eruption of Vesuvius in its ultimate results has
brought only a blessing, inasmuch as it has given us the opportunity
of casting a glance across so many centuries, right into the actual
condition and circumstances of an ancient city. There is indeed a
whole series of cities of far greater size and importance which have
existed uninterruptedly from the earliest times to the present day,
but the constant changes necessitated by the requirements and habits
of later generations have so altered their condition that the traces
of antiquity can be followed out only with the greatest toil. At
Pompeii the case is very different, there the ashes from Vesuvius
have preserved the city as a whole, just as the Pompeians left it on
the occasion of the eruption; there streets and squares, temples and
houses speak a language which cannot fail to be understood by every one
who has any power of grasping the conception of antiquity. How vastly
our knowledge of the ancient world must be advanced by such immediate
inspection of actual remains requires no further elucidation. Let then
the saying be once more repeated “Vedi Napoli e Pompei”, and, with a
slight alteration of the well-known saying as to Capri; “Non lasciar
Napoli senza aver visto Pompei”.
[Illustration: POMPEI.]
INDEX
The asterisks before the numerals refer to the illustrations.
W. = Wall-painting.
Abbondanza, via dell’, *12, 37
Achilles at the Court of Lycomedes, W., 96, *99
Ala, 41
Alexander’s Battle, 43, *46
Alexandria, Tutelary Deity of, *70
Altar, Domestic, *45
---- of the temple of Vespasian, *26
Amor with Dolphin, *56
---- with Crab, W., *84
---- with Dolphins, W., *84
---- as Host, W., *97
Amphitheatre, *33, 34, 36, *42
---- Fight in between Pompeians & Nucerians, *36
Apodyterium, *36, 37
Apollo, *27, 28
---- and Pytho, W., 94
---- Temple of, 27, *28
Arca, 42, *43
Ariadne, Deliverance of, W., 92, 93
---- in Naxos, W., 87
Atrium, 40-42
---- Restoration of, *40, 41
---- in the House of Rufus, *58, 60
---- Tuscanicum, 41
Augustales, 100
Aulus Veius, 100
Bacchus, *91
---- and Ariadne, W., *91, 92
Bakery, *74, 76
Balcony, 43, *44
Basilica, 26, *28
Baths, 35-39
Bisellium, *59, 62
Bosco Reale, 68-74
Bowls, silver, 70, 71
Boy with duck, *110
Bread, *76
Bronze table, *64
Building, periods of, 47-49
Burning the Dead, 98, 99, 102
Calda, 64
Caldarium, *38, 106
Candelabra, 66, *67
---- Painted, W., 85
Casa d’Arianna, *79, 81
---- del Balcone pensile, *56
---- dei Capitelli Colorati, *79, 81
---- del Centenario, *79, 81, 82
---- del Imperatore di Germania, *79, 82
“_Cave Canem_”, *39, 40
Cerrinius Restitutus, 100
Chapel, Private, 42, *43
Comedy, Scene from, *32, 34
Compluvium, 41
Cookshop, *14, *15, 21
Cremation, 98, 99, 102
Cups, *62, *67, 70, *72
Cupid, *56, *84, 95, *97
Cyparissus, W., *87, 88
Daedalus & Pasiphaë, W., 92, *93
Dining-couch, *60, 62
Diomedes, 105
Dioscurides, *32
Dipinti, 19, 20
Dog, in Mosaic, *39
Doorknocker, *39, 40
Ephebus of Bronze, *51, 57
Erotes, *84, 85, 86, 95, *97
Eruption of Vesuvius, 3
Eumachia, 26, *27
Europa with the Bull, W., *52, 53
Excavations, *1, 8, 9
Faun, Dancing, *55, 56
Feast, *61, 62
Fontana, Domenico, 8
Food-warmer, *63, *66
Fortuna, Temple of, 29, *30
Fountain figures, 57
Fountains, *13, 21
Fountain with mosaic, *57
Forum Civile, *18, *19, 23
---- Scene in, *20, 23
---- Triangular, *16, *17, 22
Frigidarium, 37
Fullers at Work, W., *78
Fulling, 78
Fullonica, *77, 78
Furniture, 61-64
Garlands, 95, 103
Gates, 17
Gauging table, *29
Gladiators, 36, *41
---- Barracks of, *33, 36
---- Weapons of, *34, *41, *44
Glass vessel, Blue, *102, 103
Graffiti, *13, 19, 20
Graves, 98-105
“_Have_”, 40, 80
Herculaneum, Discovery of, 8
---- Gate of, *11, 17, 98
Hercules Strangling Serpents, W., 90, *92
Herms, 90, *91, *102, 103
Hero and Leander, W., *86, 87
House of the Faun, *77, 80
---- Lucretius, *54, 59
---- Pansa, *38, *73, 75
---- C. Rufus, *58, 60
---- the Tragic Poet, *75, 76-78
---- the Vettii, 83-97, *83, *90
Impluvium, 41
Inscriptions, *13, 19, 20
Interior of Grave, 101-5, *102, *103
Io, W., 26
Iphigenia, W., 49-52, *50, 94, 95
Isis, Temple of, 29-32, *30
Istacidii, 101
Ixion, W., 92, *94
Jucundus, Caecilius, *58, 60, 61
“Junoni Tyches”, *102, 103, 104
Jupiter, Bust of, *21, 25
---- Temple of, *22, *23, 25
Kitchen, with Hearth, *82, 84
Lamps, 66, *67
Lares, Shrine of, 88, *89
Lead plates, 81
Lecti, 62
Lighting of dwellingrooms, 65, 66
Loaves, *76
Loves, *84, 85, 86, 95, *97
Macellum, *24, 25, 26
Maenianum, 43, *44
Mamia, 101
Marble Table, *59, 62
Mars and Venus, W., *53, 54
Meals, *61, 61-63
Meatmarket, *24, 24-26
Medea, W., *51, 52
Mercury, Street of, *8, 11, 15
Mirror with Bust of Ariadne, *71, 72
Misenum, 4
Mosaics, *39, 40, 43-47, *47
Naevoleia Tyche, *103, 105
Narcissus, Statuette of, *55, 56
Nola, Street of, *9, 15
Oilshops, *16, 21
Omphalos, 27
Orestes and Pylades, 94
Oscilla, 60
Ostiarius, 40
Palaestra, 37
Panorama of Pompeii, *7
Pentheus, 91
Periods of Building, 47-49
Piscina, 106
Plasterer at Work, *49
Plastering, *49
Pliny the Younger, 4, 5
Pompeii, History of, 1-8
Porcius, 101
Porta della Marina, 1, 12
Priapus, 85
Private Houses, 39
Proculus and his Wife, W., *53, 53-55
Psyches, 95, *96
Punishment of Ixion, W., 92, *94
Purgatorium, 29
Pylades, 94
Races, W., 95, *98
Rothschild, 69
Rufus, Cornelius, *58, 60
Sacrifice of Iphigenia, W., 49, *50, 50-52
Sculpture, 89, *91
Senaculum, 26
Ships, Representations of, 93
Shops, 21
Stabiae, Street of, *14, 21
Standard measures, table of, *29
Stepping-stones, 18
Stibadium, 63
Stoves, 63, 64, *65
Streets, width of, 17
Strongboxes, 42, *43
Styles of art, *47, *48, 49
Sulla, 17
Symposium, W., *61
Table of standard measures, *29
Tablinum, 42
Tepidarium, *37, 38, 106
Terentius Major, Tomb of, 102, 103
Theatres, *31, 32, 34
Thermae, *35, 35-39
Tombs, 98-105
Tombs, Street of, 98, *100, *101, 101-5
Towers, *10, 16
Triclinium, 42, 62
---- Funebre, 99, 105, 107
Tripods, 63, *64
Urania, 89, *105
Ustrinum, 98
Vases, 73
Vespasian, Temple of, *25
Vestibulum, 40
Vesuvius, on a Wall-painting, *2, 82
Villa of Diomedes, *104, 104-106
Wall Decorations, 45-55
Walls, *10, 16, 17
Wax tablets, 55, 60, *80, 83
Weapons, *34, *41, *44
Windows, *13, 19
LIST OF ILLUSTRATIONS
Front Excavation
1 Vesuvius before the Eruption
2 Contest between Pompeians and Nucerians in the Amphitheatre
3 Plaster-cast of a Pompeian Woman
4 Plaster-cast of a Dog
5 Panorama of Pompeii
6 The Street of Mercury
7 The Street of Nola and its continuation
8 Section of a Tower
9 View of the City Wall from outside
10 Section of the City Wall
11 The Gate of Herculaneum
12 The Street of Abundance
13 Window in Pompeii
14 Pompeian Inscription on Wall
15 Pompeian Graffito
16 Public Fountain
17 Street of Stabiae with water Reservoir
18 Restored View of a Cookshop
19 Cookshop of the Casa di Sullustio
20 Oilmerchant’s Shop
21 Entrance to the Triangular Forum
22 The Triangular Forum
23 The Forum Civile, seen from the South
24 Forum Civile, from the Temple of Jupiter
25 Life in the Forum
26 Bust of Jupiter
27 The Temple of Jupiter
28 The Temple of Jupiter, Reconstruction
29 The Macellum, (the Meat market)
30 Wall ornamented with pictures in the Macellum
31 The Temple of Vespasian
32 Altar of the Temple of Vespasian
33 Portrait statue of Eumachia
34 Statue of Apollo
35 The Basilica
36 The Temple of Apollo
37 Gauging Table from the Forum
38 The Temple of Fortune
39 The Temple of Isis
40 The smaller Theatre
41 The larger Theatre
42 Scene from a Comedy. Mosaic of Dioscurides
43 Interior view of the Amphitheatre
44 Barracks of the Gladiators
45 Weapons of Gladiators
46 Wall at the Stabian Baths
47 The Apodyterium
48 The Tepidarium of the Forum Baths
49 Arrangement of a Caldarium
50 Section of the Caldarium
51 Ground Plan of the House of Pansa
52 Atrium Tuscanicum
53 _Cave Canem_
54 Doorknockers
55 Roman Dwellinghouse. Vista from the Atrium to the Peristyle
56 Scene from the Amphitheatre
57 External View of the Amphitheatre
58 Iron Strongbox
59 Domestic Shrine
60 Helmets for Gladiators
61 House with _Maenianum_
62 Domestic Altar
63 Mosaic Threshold
64 Alexander’s Battle
65 Pompeian Mosaic
66 Wall Decoration of the First Style (Casa di Sallustio)
67 Wall Decoration of the Third Style (House of Spurius Mesor)
68 Process of Plastering
69 Wall Decoration. Fourth Style
70 Sacrifice of Iphigenia
71 Medea, from Herculaneum
72 The so-called Ephebus of bronze
73 Europa with the Bull
74 Mars and Venus
75 Paquius Proculus and his wife
76 Garden of the Casa di Lucrezio
77 The Dancing Faun
78 The so-called Narcissus
79 Cupid with a Dolphin
80 Casa del Balcone pensile
81 Mosaic Fountain
82 Atrium of the Casa di Cornelio Rufo
83 Bust of the Banker L. Caecilius Jucundus
84 Bust of Cornelius Rufus
85 A _Bisellium_
86 Marble Table
87 Dining-couch of Bronze
88 A Symposium. Pompeian Wall-painting
89 Drinking-cup from Bosco Reale
90 Food-warmer
91 Tripods and Bronze Table
92 Portable Stove
93 Bronze Vessel for the preparation of _Calda_
94 Food-warmer
95 Silver Cups
96 Candelabrum
97 Candelabrum
98 Bronze Vessel
99 Silver Jugs
100 The Tutelary Goddess of Alexandria
101 Mirror with the Bust of Ariadne
102 Cup with Olivewreath
103 Cup with Still Life
104 House of Pansa
105 Bakery with Mills
106 House of the Tragic Poet
107 Pompeian Loaves
108 Fullonica (Fulling-mill)
109 Casa del Fauno
110 The Fuller at his Work
111 Casa dei Capitelli colorati (Casa d’Arianna)
112 Casa dei Capitelli colorati (Casa d’Arianna)
113 Casa del Centenario
114 Casa del Imperatore di Germania
115 Wax tablet from the House of Caecilius Jucundus
116 House with several stories
117 Kitchen with Hearth
118 Plan of the House of the Vettii
119 Love on a Crab
120 Love with Dolphins
121 Candelabrum, Wall-painting
122 Hero and Leander
123 Cyparissus
124 The Shrine of the Lares
125 The Peristyle of the House of the Vettii
126 Bacchus
127 Bacchus and Ariadne
128 Hercules strangling Serpents
129 Daedalus and Pasiphae
130 Ixion’s Punishment
131 Psyches gathering Flowers
132 Cupid as Host
133 A Race
134 Achilles at the Court of Lycomedes
135 The Street of Tombs by the Gate of Herculaneum
136 Continuation of the Street of Tombs
137 Interior of a Grave
138 Vessel of blue Glass
139 Herm-cippus
140 Sepulchral Monument of Naevoleia Tyche
141 Villa of Diomedes
142 Urania
143 Bronze Bowl
144 Boy with Duck
End Map of Pompeii
Transcriber’s Notes.
Italic text is indicated with _underscores_, bold text with =equals=.
Small/mixed capitals have been replaced with ALL CAPITALS.
Evident typographical and punctuation errors have been corrected
silently. Inconsistent spelling/hyphenation has been normalised.
To improve text flow, illustrations have been relocated between
paragraphs. Page numbers in the list of illustrations have been
discarded.