Part 12

The ceiling is worked in stucco, in low relief, with scattered figures and ornaments of little flying genii, delicately relieved on medallions, with foliage carved round them. The ground is painted, sometimes red and sometimes blue. The room is lighted by a window two feet six inches high and three feet wide, in the bronze frame of which were found set four very beautiful panes of glass fastened by small nuts and screws, very ingeniously contrived, with a view to remove the glass at pleasure. In this room was found a brazier, seven feet long and two feet six inches broad, made entirely of bronze, with the exception of an iron lining. The two front legs are winged sphinxes, terminating in lions' paws, the two other legs are plain, being intended to stand against the wall. The bottom is formed with bronze bars, on which are laid bricks supporting pumice-stones for the reception of charcoal. There is a sort of false battlement worked on the rim, and in the middle a cow is to be seen in high relief. Three bronze benches also were found, alike in form and pattern. They are one foot four inches high, one foot in width, and about six feet long, supported by four legs, terminating in the cloven hoofs of a cow, and ornamented at the upper ends with the heads of the same animal. Upon the seat is inscribed, M. NIGIDIUS, VACCULA. P.S.

Varro, in his book upon rural affairs, tells us that many of the surnames of the Roman families had their origin in pastoral life, and especially are derived from the animals to whose breeding they paid most attention. As, for instance, the Porcii took their name from their occupation as swine-herds; the Ovini from their care of sheep; the Caprilli, of goats; the Equarii, of horses; the Tauri, of bulls, etc. We may conclude, therefore, that the family of this Marcus Vaccula were originally cow-keepers, and that the figures of cows so plentifully impressed on all the articles which he presented to the baths are a sort of _canting arms_, to borrow an expression from heraldry, as in Rome the family Toria caused a bull to be stamped on their money.

A doorway led from the tepidarium into the caldarium, or vapor-bath. It had on one side the laconicum, containing the vase called labrum. On the opposite side of the room was the hot bath called lavacrum. Here it is necessary to refer to the words of Vitruvius as explanatory of the structure of the apartments (cap. xi. lib. v.): "Here should be placed the vaulted sweating-room, twice the length of its width, which should have at each extremity, on one end the _laconicum_, made as described above, on the other end the hot bath." This apartment is exactly as described, twice the length of its width, exclusively of the laconicum at one end and the hot bath at the other. The pavement and walls of the whole were hollowed to admit the heat.

The labrum was a great basin or round vase of white marble, rather more than five feet in diameter, into which the hot water bubbled up through a pipe in its centre, and served for the partial ablutions of those who took the vapor-bath. It was raised about three feet six inches above the level of the pavement, on a round base built of small pieces of stone or lava, stuccoed and colored red, five feet six inches in diameter, and has within it a bronze inscription, which runs thus:

CNÆO. MELISSÆO. CNÆL FILIO. APRO. MARCO. STAIO. MARCI. FILIO. RUFO. DUUMVIRIS. ITERUM. IURE. DICUNDO. LABRUM. EX DECURIONUM DECRETO. EX. PECUNIA. PUBLICA. FACIENDUM. CURARUNT CONSTAT. HS. D.C.C.L.

Relating that "Cnæus Melissæus Aper, son of Cnæus Aper. Marcus Staius Rufus, son of M. Rufus, duumvirs of justice for the second time, caused the labrum to be made at the public expense, by order of the Decurions. It cost 5,250 sesterces" (about $200). There is in the Vatican a magnificent porphyry labrum found in one of the imperial baths; and Baccius, a great modern authority on baths, speaks of labra made of glass.

This apartment, like the others, is well stuccoed and painted yellow; a cornice, highly enriched with stucco ornaments, is supported by fluted pilasters placed at irregular intervals. These are red, as is also the cornice and ceiling of the laconicum, which is worked in stucco with little figures of boys and animals.

The women's bath resembles very much that of the men, and differs only in being smaller and less ornamented. It is heated, as we have already mentioned, by the same fire, and supplied with water from the same boilers. Near the entrance is an inscription painted in red letters. All the rooms yet retain in perfection their vaulted roofs. In the vestibule are seats similar to those which have been described in the men's baths as appropriated to slaves or servants of the establishment. The robing-room contains a cold bath; it is painted with red and yellow pilasters alternating with one another on a blue or black ground, and has a light cornice of white stucco and a white mosaic pavement with a narrow black border. There are accommodations for ten persons to undress at the same time. The cold bath is much damaged, the wall only remaining of the alveus, which is square, the whole incrustation of marble being destroyed. From this room we pass into the tepidarium, about twenty feet square, painted yellow with red pilasters, lighted by a small window far from the ground. This apartment communicates with the warm bath, which, like the men's, is heated by flues formed in the floors and walls.

There are in this room paintings of grotesque design upon a yellow ground, but they are much damaged and scarcely visible. The pavement is of white marble laid in mosaic. The room in its general arrangement resembles the hot bath of the men; it has a labrum in the laconicum, and a hot bath contiguous to the furnace. The hollow pavement and the flues in the walls are almost entirely destroyed; and of the labrum, the foot, in the middle of which was a piece of the leaden conduit that introduced the water, alone remains. On the right of the entrance into these women's baths is a wall of stone of great thickness and in a good style of masonry.

These baths are so well arranged, with so prudent an economy of room and convenient distribution of their parts, and are adorned with such appropriate elegance, as to show clearly the intellect and resources of an excellent architect. At the same time some errors of the grossest kind have been committed, such as would be inexcusable in the most ignorant workman; as, for instance, the symmetry of parts has been neglected where the parts correspond; a pilaster is cut off by a door which passes through the middle of it; and other mistakes occur which might have been avoided without difficulty. This strange mixture of good and bad taste, of skill and carelessness, is not very easily accounted for, but it is of constant recurrence in Pompeii.

[Illustration: ANCIENT BATH-ROOM. (_As discovered_).]

Vitruvius recommends the selecting a situation for baths defended from the north and northwest winds, and forming windows opposite the south, or if the nature of the ground would not permit this, at least towards the south, because the hours of bathing used by the ancients being from after mid-day till evening, those who bathed could, by those windows, have the advantage of the rays and of the heat of the declining sun.

For this reason the Pompeian baths hitherto described have the greater part of their windows turned to the south, and are constructed in a low part of the city, where the adjoining buildings served as a protection to them from the inconvenience of the northwest winds.

Before concluding this account of the Stabian baths, we should mention that under the portico, near the entrance to the men's baths, was found a sun-dial, consisting as usual of a half circle inscribed in a rectangle, and with the gnomon in perfect preservation. It was supported by lion's feet and elegantly ornamented. On its base was an Oscan inscription, which has been interpreted as follows by Minervini: Marius. Atinius, Marii filius, quæstor, ex multatitia pecunia conventus decreto fieri mandavit. That is: the Quæstor M. Atinius, in accordance with a decree of the assembly, caused it to be made out of money levied by fines. The title of "Quæstor" seems to show that this inscription must have been written after the occupation of Pompeii by the Romans, but at the same time at a period when the Oscan tongue continued to be generally spoken. The fines alluded to were probably levied for breaches of the rules to be observed in the palæstra.

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SOCIAL GAMES AND SPORTS.

Jugglers of both sexes, either single or in gangs, were common all over Greece putting up their booths, as Xenophon says, wherever money and silly people could be found. These frequently amused the guests at drinking feasts with their tricks. The reputation of this class of people was anything but above suspicion, as is proved by the verse of Manetho ("Apotheles," IV., 276), in which they are described as the "birds of the country, the foulest brood of the city." Their tricks were innumerable, and outvied in boldness and ingenuity those of our conjurors, barring, of course such as are founded on the modern discoveries of natural science. Male and female jugglers jumped forwards and backwards over swords or tables; girls threw up and caught again a number of balls or hoops to the accompaniment of a musical instrument; others displayed an astounding skill with their feet and toes while standing on their hands. Rope-dancers performed the most dangerous dances and _salti-mortali_. In Rome even elephants were trained to mount the rope. Flying-machines of a construction unknown to us are also mentioned, on which bold aeronauts traversed the air. Alkiphron tells a story about a peasant who, on seeing a juggler pulling little bullets from the noses, ears, and heads of the spectators, exclaimed: "Let such a beast never enter my yard, or else everything would soon disappear." Descriptions of these tricks are frequent in ancient writers, particularly in the indignant invectives of the early fathers of the Church. Amongst the pictures of female jugglers in all kinds of impossible postures, can be seen a girl performing the dangerous sword-dance, described by Plato. It consists in her turning somersaults forwards and backwards across the points of three swords stuck in the ground. A similar picture we see on a vase of the Berlin Museum. Another vase shows a female juggler dressed in long drawers standing on her hands, and filling with her feet a kantharos from a krater placed in front of her. She holds the handle of the kantharos with the toes of her left foot, while the toes of her other foot cling round the stem of the kyathos used for drawing the liquor. A woman sitting in front of her performs a game with three balls, in which the other artiste also seems to take a part. In another, a girl in a rather awkward position is shooting an arrow from a bow.

Of social games played by the topers we mention, besides the complicated kottabos, the games played on a board or with dice. Homer already mentions a game of the former class, and names Palamedes as its inventor; of the exact nature of this game we know little or nothing. Neither are we informed of the details of another kind of petteia played with five little stones on a board divided by five lines.

The so-called "game of cities" seems to have resembled our chess or draughts. The board was divided into five parts. Each player tried to checkmate the other by the skillful use of his men. Games of hazard with dice and astragaloi were most likely greater favorites with the topers than the intellectual ones hitherto described. The number of dice was at first three, afterwards two; the figures on the parallel sides being 1 and 6, 2 and 5, 3 and 4. In order to prevent cheating, they were cast from conical beakers, the interior of which was formed into different steps. Each cast had its name, sixty-four of which have been transmitted to us by the grammarians. The luckiest cast, each of the dice showing the figure 6, was called Aphrodite; the unluckiest, the three dice showing the figure 1, had the names of "dog" or "wine" applied to it.

Another game of a similar nature was played with the so-called astragaloi, dice of a lengthy shape made of the knuckles of animals. Two of the surfaces were flat, the third being raised, and the fourth indented slightly. The last-mentioned side was marked 1, and had, amongst many other names, that of "dog;" the opposite surface, marked 6. The Latin names of the two other sides marked 3 and 4 were _suppus_ and _planus_ respectively. The figures 2 and 5 were wanting on the astragaloi, the narrow end-surfaces not being counted. The number of astragaloi used was always four, being the same as in the game of dice. Here also the luckiest cast was called Aphrodite, with which at the same time the honor of king-of-the-feast was connected.

Young girls liked to play at a game with five astragaloi, or little stones, which were thrown into the air and caught on the upper surface of the hand. This game is still in use in many countries. We possess many antique representations of these various games.

Two vase paintings show soldiers playing at draughts. Astragaloi and dice of different sizes, some with the figures as above described on them, others evidently counterfeited, are preserved in several museums. Of larger representations we mention the marble statue of a girl playing with astragaloi in the Berlin Museum, and a Pompeian wall-painting in which the children of Jason play the same game, while Medea threatens their lives with a drawn sword. The celebrated masterpiece of Polykletes, representing two boys playing with astragaloi, formerly in the palace of Titus in Rome, has unfortunately been lost. Another wall-painting shows in the foreground Aglaia and Hileaira, daughters of Niobe, kneeling and playing the same game.

In connection with these social games we mention a few other favorite amusements of the Greeks. The existence of cock-fights is proved by vase-paintings, gems, and written evidence. It was a favorite pastime with both old and young. Themistokles, after his victory over the Persians, is said to have founded an annual entertainment of cock-fights, which made both these and the fights of quails popular among the Greeks. The breeding of fighting-cocks was a matter of great importance, Rhodes, Chalkis, and Media being particularly celebrated for their strong and large cocks. In order to increase their fury, the animals were fed with garlic previous to the fight. Sharp metal spurs were attached to their legs, after which they were placed on a table with a raised border. Very large sums were frequently staked on them by owners and spectators.

Here, again, we see antique customs reproduced by various modern nations. The Italian game of _morra_ (_il giuco alla morra_ or _fare alla morra_) was also known to the ancients. In it both players open their clenched right hands simultaneously with the speed of lightning, whereat each has to call out the number of fingers extended by the other. It is the same game which figured among Egyptian amusements. Mimetic dances were another favorite amusement at symposia. They mostly represented mythological scenes. A few words about Greek dancing ought to be added.

Homer mentions dancing as one of the chief delights of the feast; he also praises the artistic dances of the Phaiakian youths. This proves the esteem in which this art was held even at that early period. In the dances of the Phaiakai, all the young men performed a circular movement round a singer standing in the centre, or else two skilled dancers executed a _pas de deux_. Homer's words seem to indicate that the rhythmical motion was not limited to the legs, as in our modern dances, but extended to the upper part of the body and the arms. Perhaps the germs of mimetic art may be looked for in this dance.

According to Lucian, the aim of the dance was to express sentiment, passion, and action by means of gestures. It soon developed into highest artistic beauty, combined with the rhythmic grace peculiar to the Greeks. Like the gymnastic and agonistic arts, the dance retained its original purity as long as public morality prevailed in Greece: its connection with religious worship preserved it from neglect. Gradually, however, here also mechanical virtuosity began to supplant true artistic principles.

The division of dances according to their warlike or religious character seems objectionable, because all of them were originally connected with religious worship. The distinction between warlike and peaceful dances is more appropriate. Among the warlike dances

## particularly adapted to the Doric character, was the oldest and that

most in favor. It dates from mythical times. Pyrrhichos, either a Kretan or Spartan by birth, the Dioskuroi, also Pyrrhos, the son of Achilles, are mentioned as its originators. The Pyrrhic dance, performed by several men in armor, imitated the movements of attack and defence. The various positions were defined by rule; hands and arms played an important part in the mimetic action. It formed the chief feature of the Doric gymnopaidia and of the greater and lesser Panathenaia at Athens. The value attached to it in the latter city is proved by the fact of the Athenians making Phrynichos commander-in-chief owing to the skill displayed by him in the Pyrrhic dance.

Later a Bacchic element was introduced into this dance, which henceforth illustrated the deeds of Dionysos. A fragment of a marble frieze shows a satyr with a thyrsos and laurel crown performing a wild Bacchic dance between two soldiers, also executing a dancing movement; it most likely illustrates the Pyrrhic dance of a later epoch.

Of other warlike dances we mention the _karpeia_, which rendered the surprise of a warrior plowing a field by robbers, and the scuffle between them. It was accompanied on the flute.

More numerous, although less complicated, were the peaceful choral dances performed at the feasts of different gods, according to their individualities. With the exception of the Bacchic dances, they consisted of measured movements round the altar. More lively in character were the gymnopaidic dances performed by men and boys. They were, like most Spartan choral dances, renowned for their graceful rhythms. They consisted of an imitation of gymnastic exercises,

## particularly of the wrestling-match and the Pankration; in later times

it was generally succeeded by the warlike Pyrrhic dance.

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SOCIAL ENTERTAINMENTS.

We will now give some of the more domestic entertainments, such as

## parties or dinners, given by the Egyptians. In their entertainments

they appear to have omitted nothing which could promote festivity and the amusement of the guests. Music, songs, dancing, buffoonery, feats of agility, or games of chance, were generally introduced; and they welcomed them with all the luxuries which the cellar and the table could afford.

The party, when invited to dinner, met about midday, and they arrived successively in their chariots, in palanquins borne by their servants, or on foot. Sometimes their attendants screened them from the sun by holding up a shield (as is still done in Southern Africa), or by some other contrivance; but the chariot of the king or of a princess, was often furnished with a large parasol; and the flabella borne behind the king, which belonged exclusively to royalty, answered the same purpose. They were composed of feathers, and were not very unlike those carried on state occasions behind the Pope in modern Rome. Parasols or umbrellas were also used in Assyria, Persia, and other Eastern countries.

When a visitor came in his car, he was attended by a number of servants, some of whom carried a stool, to enable him to alight, and others his writing tablet, or whatever he might want during his stay at the house. The guests are assembled in a sitting room within, and are entertained with music during the interval preceding the announcement of dinner; for, like the Greeks, they considered it a want of good breeding to sit down to table immediately on arriving, and, as Bdelycleon, in Aristophanes, recommended his father Philocleon to do, they praised the beauty of the rooms and the furniture, taking care to show particular interest in those objects which were intended for admiration. As usual in all countries, some of the party arrived earlier than others; and the consequence, or affectation of fashion, in the person who now drives up in his curricle, is shown by his coming some time after the rest of the company; one of his footmen runs forward to knock at the door, others, close behind the chariot, are ready to take the reins, and to perform their accustomed duties; and the one holding his sandals in his hand, that he may run with greater ease, illustrates a custom, still common in Egypt, among the Arabs and peasants of the country, who find the power of the foot greater when freed from the encumbrance of a shoe.

To those who arrived from a journey, or who desired it, water was brought for their feet, previous to entering the festive chamber. They also washed their hands before dinner, the water being brought in the same manner as at the present day; and ewers, not unlike those used by the modern Egyptians, are represented, with the basins belonging to them, in the paintings of a Theban tomb. In the houses of the rich they were of gold, or other costly materials. Herodotus mentions the golden foot-pan, in which Amasis and his guests used to wash their feet.

The Greeks had the same custom of bringing water to the guests, numerous instances of which we find in Homer; as when Telemachus and the son of Nestor were received at the house of Menelaus, and when Asphalion poured it upon the hands of his master, and the same guests, on another occasion. Virgil also describes the servants bringing water for this purpose when Æneas was entertained by Dido. Nor was the ceremony thought superfluous, or declined, even though they had previously bathed and been anointed with oil.

It is also probable that, like the Greeks, the Egyptians anointed themselves before they left home; but still it was customary for a servant to attend every guest, as he seated himself, and to anoint his head; which was one of the principal tokens of welcome. The ointment was sweet-scented, and was contained in an alabaster, or in an elegant glass or porcelain vase, some of which have been found in the tombs of Thebes. Servants took the sandals of the guests as they arrived, and either put them by in a convenient place in the house, or held them on their arm while they waited upon them.