Part 2

The fountain is about one hundred and fifty yards from the city gate. About the same distance, further on, the street divides into two; the right-hand turning seems a by-street, the left-hand turning conducts you to the Forum. The most important feature in this space is a house called the house of Sallust or of Actæon, from a painting in it representing that hunter's death. It stands on an area about forty yards square, and is encompassed on three sides by streets; by that namely which we have been describing, by another nearly parallel to it, and by a third, perpendicular to these two. The whole quarter at present excavated, as far as the Street of the Baths, continued by the Street of Fortune, is divided, by six longitudinal and one transverse street, into what the Romans called islands, or insulated masses of houses. Two of these are entirely occupied by the houses of Pansa and of the Faun, which, with their courts and gardens, are about one hundred yards long by forty wide.

From the Street of the Baths and that of Fortune, which bound these islands on the south, two streets lead to the two corners of the Forum; between them are baths, occupying nearly the whole island. Among other buildings are a milk-shop and gladiatorial school. At the northeast corner of the Forum was a triumphal arch. At the end of the Street of the Baths and beginning of that of Fortune, another triumphal arch is still to be made out, spanning the street of Mercury, so that this was plainly the way of state into the city. The Forum is distant from the gate of Herculaneum about four hundred yards. Of it we shall give a full description in its place. Near the south-eastern corner two streets enter it, one running to the south, the other to the east. We will follow the former for about eighty yards, when it turns eastward for two hundred yards, and conducts us to the quarter of the theatres. The other street, which runs eastward from the Forum, is of more importance, and is called the Street of the Silversmiths;[1] at the end of which a short street turns southwards, and meets the other route to the theatres. On both these routes the houses immediately bordering on the streets are cleared; but between them is a large rectangular plot of unexplored ground. Two very elegant houses at the southwest corner of the Forum were uncovered by the French general Championnet, while in command at Naples, and are known by his name. On the western side of the Forum two streets led down towards the sea; the excavations here consist almost entirely of public buildings, which will be described hereafter.

[Illustration: VIEW OF POMPEII. (_From a photograph._)]

The quarter of the theatres comprises a large temple, called the Temple of Neptune or Hercules, a temple of Isis, a temple of Æsculapius, two theatres, the Triangular Forum, and the quarters of the soldiers or gladiators. On the north and east it is bounded by streets; to the south and west it seems to have been enclosed partly by the town walls, partly by its own. Here the continuous excavation ends, and we must cross vineyards to the amphitheatre, about five hundred and fifty yards distant from the theatre, in the southeast corner of the city, close to the walls, and in an angle formed by them. Close to the amphitheatre are traces of walls supposed to have belonged to a Forum Boarium, or cattle market. Near at hand, a considerable building, called the villa of Julia Felix, has been excavated and filled up again. On the walls of it was discovered the following inscription, which may serve to convey an idea of the wealth of some of the Pompeian proprietors:

IN PRAEDIS JULLE SP F. FELICIS LOCANTUR BALNEUM VENERIUM ET NONGENTUM TABERNÆ PERGULÆ COENACULA EX IDIBUS AUG PRIMIS IN IDUS AUG. SEXTAS ANNOS CONTINUOS QUINQUE S. Q. D. L. E. N. C.

That is: "On the estate of Julia Felix, daughter of Spurius, are to be let a bath, a venereum, nine hundred shops, with booths and garrets, for a term of five continuous years, from the first to the sixth of the Ides of August." The formula, S. Q. D. L. E. N. C., with which the advertisement concludes, is thought to stand for--si quis domi lenocinium exerceat ne conducito: "let no one apply who keeps a brothel."

A little to the south of the smaller theatre was discovered, in 1851, the Gate of Stabiæ. Hence a long straight street, which has been called the Street of Stabiæ, traversed the whole breadth of the city, till it issued out on the northern side at the gate of Vesuvius. It has been cleared to the point where it intersects the Streets of Fortune and of Nola, which, with the Street of the Baths, traverse the city in its length. The Street of Stabiæ forms the boundary of the excavations; all that part of Pompeii which lies to the east of it, with the exception of the amphitheatre, and the line forming the Street of Nola, being still occupied by vineyards and cultivated fields. On the other hand, that part of the city lying to the west of it has been for the most part disinterred; though there are still some portions lying to the south and west of the Street of Abundance and the Forum, and to the east of the Vico Storto, which remain to be excavated.

The streets of Pompeii are paved with large irregular pieces of lava joined neatly together, in which the chariot wheels have worn ruts, still discernible; in some places they are an inch and a half deep, and in the narrow streets follow one track; where the streets are wider, the ruts are more numerous and irregular. The width of the streets varies from eight or nine feet to about twenty-two, including the footpaths or trottoirs. In many places they are so narrow that they may be crossed at one stride; where they are wider, a raised stepping-stone, and sometimes two or three, have been placed in the centre of the crossing. These stones, though in the middle of the carriage way, did not much inconvenience those who drove about in the biga, or two-horsed chariot, as the wheels passed freely in the spaces left, while the horses, being loosely harnessed, might either have stepped over the stones or passed by the sides. The curb-stones are elevated from one foot to eighteen inches, and separate the foot-pavement from the road. Throughout the city there is hardly a street unfurnished with this convenience. Where there is width to admit of a broad foot-path, the interval between the curb and the line of building is filled up with earth, which has then been covered over with stucco, and sometimes with a coarse mosaic of brickwork. Here and there traces of this sort of pavement still remain, especially in those streets which were protected by porticoes.

[Page Decoration]

[Page Decoration]

ARRANGEMENT OF PRIVATE HOUSES.

We will now give an account of some of the most remarkable private houses which have been disinterred; of the paintings, domestic utensils, and other articles found in them; and such information upon the domestic manners of the ancient Italians as may seem requisite to the illustration of these remains. This branch of our subject is not less interesting, nor less extensive than the other. Temples and theatres, in equal preservation, and of greater splendor than those at Pompeii, may be seen in many places; but towards acquainting us with the habitations, the private luxuries and elegancies of ancient life, not all the scattered fragments of domestic architecture which exist elsewhere have done so much as this city, with its fellow-sufferer, Herculaneum.

Towards the last years of the republic, the Romans naturalized the arts of Greece among themselves; and Grecian architecture came into fashion at Rome, as we may learn, among other sources, from the letters of Cicero to Atticus, which bear constant testimony to the strong interest which he took in ornamenting his several houses, and mention Cyrus, his Greek architect. At this time immense fortunes were easily made from the spoils of new conquests, or by peculation and maladministration of subject provinces, and the money thus ill and easily acquired was squandered in the most lavish luxury. One favorite mode of indulgence was in splendor of building. Lucius Cassius was the first who ornamented his house with columns of foreign marble; they were only six in number, and twelve feet high. He was soon surpassed by Scaurus, who placed in his house columns of the black marble called Lucullian, thirty-eight feet high, and of such vast and unusual weight that the superintendent of sewers, as we are told by Pliny,[2] took security for any injury which might happen to the works under his charge, before they were suffered to be conveyed along the streets. Another prodigal, by name Mamurra, set the example of lining his rooms with slabs of marble. The best estimate, however, of the growth of architectural luxury about this time may be found in what we are told by Pliny, that, in the year of Rome 676, the house of Lepidus was the finest in the city, and thirty-five years later it was not the hundredth.[3] We may mention, as an example of the lavish expenditure of the Romans, that Domitius Ahenobarbus offered for the house of Crassus a sum amounting to near $242,500, which was refused by the owner.[4] Nor were they less extravagant in their country houses. We may again quote Cicero, whose attachment to his Tusculan and Formian villas, and interest in ornamenting them, even in the most perilous times, is well known. Still more celebrated are the villas of Lucullus and Pollio; of the latter some remains are still to be seen near Pausilipo.

Augustus endeavored by his example to check this extravagant passion, but he produced little effect. And in the palaces of the emperors, and especially the Aurea Domus, the Golden House of Nero, the domestic architecture of Rome, or, we might probably say, of the world, reached its extreme.

The arrangement of the houses, though varied, of course, by local circumstances, and according to the rank and circumstances of the master, was pretty generally the same in all. The principal rooms, differing only in size and ornament, recur everywhere; those supplemental ones, which were invented only for convenience or luxury, vary according to the tastes and circumstances of the master.

[Illustration: GROUND PLAN OF A ROMAN HOUSE.]

The private part comprised the peristyle, bed-chambers, triclinium, oeci, picture-gallery, library, baths, exedra, xystus, etc. We proceed to explain the meaning of these terms.

Before great mansions there was generally a court or area, upon which the portico opened, either surrounding three sides of the area, or merely running along the front of the house. In smaller houses the portico ranged even with the street. Within the portico, or if there was no portico, opening directly to the street, was the vestibule, consisting of one or more spacious apartments. It was considered to be without the house, and was always open for the reception of those who came to wait there until the doors should be opened. The prothyrum, in Greek architecture, was the same as the vestibule. In Roman architecture, it was a passage-room, between the outer or house-door which opened to the vestibule, and an inner door which closed the entrance of the atrium. In the vestibule, or in an apartment opening upon it, the porter, _ostiarius_, usually had his seat.

The atrium, or cavædium, for they appear to have signified the same thing, was the most important, and usually the most splendid apartment of the house. Here the owner received his crowd of morning visitors, who were not admitted to the inner apartments. The term is thus explained by Varro: "The hollow of the house (cavum ædium) is a covered place within the walls, left open to the common use of all. It is called Tuscan, from the Tuscans, after the Romans began to imitate their cavædium. The word atrium is derived from the Atriates, a people of Tuscany, from whom the pattern of it was taken." Originally, then, the atrium was the common room of resort for the whole family, the place of their domestic occupations; and such it probably continued in the humbler ranks of life. A general description of it may easily be given. It was a large apartment, roofed over, but with an opening in the centre, called _compluvium_, towards which the roof sloped, so as to throw the rain-water into a cistern in the floor called _impluvium_.

The roof around the compluvium was edged with a row of highly ornamented tiles, called antefixes, on which a mask or some other figure was moulded. At the corners there were usually spouts, in the form of lions' or dogs' heads, or any fantastical device which the architect might fancy, which carried the rain-water clear out into the impluvium, whence it passed into cisterns; from which again it was drawn for household purposes. For drinking, river-water, and still more, well-water, was preferred. Often the atrium was adorned with fountains, supplied through leaden or earthenware pipes, from aqueducts or other raised heads of water; for the Romans knew the property of fluids, which causes them to stand at the same height in communicating vessels. This is distinctly recognized by Pliny,[5] though their common use of aqueducts, in preference to pipes, has led to a supposition that this great hydrostatical principle was unknown to them. The breadth of the impluvium, according to Vitruvius, was not less than a quarter, nor greater than a third, of the whole breadth of the atrium; its length was regulated by the same standard. The opening above it was often shaded by a colored veil, which diffused a softened light, and moderated the intense heat of an Italian sun.[6] The splendid columns of the house of Scaurus, at Rome, were placed, as we learn from Pliny,[7] in the atrium of his house. The walls were painted with landscapes or arabesques--a practice introduced about the time of Augustus--or lined with slabs of foreign and costly marbles, of which the Romans were passionately fond. The pavement was composed of the same precious material, or of still more valuable mosaics.

[Illustration: VESTIBULE OF A POMPEIAN HOUSE.]

The tablinum was an appendage of the atrium, and usually entirely open to it. It contained, as its name imports,[8] the family archives, the statues, pictures, genealogical tables, and other relics of a long line of ancestors.

Alæ, wings, were similar but smaller apartments, or rather recesses, on each side of the further part of the atrium. Fauces, jaws, were passages, more especially those which passed to the interior of the house from the atrium.

In houses of small extent, strangers were lodged in chambers which surrounded and opened into the atrium. The great, whose connections spread into the provinces, and who were visited by numbers who, on coming to Rome, expected to profit by their hospitality, had usually a _hospitium_, or place of reception for strangers, either separate, or among the dependencies of their palaces.

Of the private apartments the first to be mentioned is the peristyle, which usually lay behind the atrium, and communicated with it both through the tablinum and by fauces. In its general plan it resembled the atrium, being in fact a court, open to the sky in the middle, and surrounded by a colonnade, but it was larger in its dimensions, and the centre court was often decorated with shrubs and flowers and fountains, and was then called _xystus_. It should be greater in extent when measured transversely than in length,[9] and the intercolumniations should not exceed four, nor fall short of three diameters of the columns.

Of the arrangement of the bed-chambers we know little. They seem to have been small and inconvenient. When there was room they had usually a procoeton, or ante-chamber. Vitruvius recommends that they should face the east, for the benefit of the early sun. One of the most important apartments in the whole house was the triclinium, or dining-room, so named from the three beds, which encompassed the table on three sides, leaving the fourth open to the attendants. The prodigality of the Romans in matters of eating is well known, and it extended to all matters connected with the pleasures of the table. In their rooms, their couches, and all the furniture of their entertainments, magnificence and extravagance were carried to their highest point. The rich had several of these apartments, to be used at different seasons, or on various occasions. Lucullus, celebrated for his wealth and profuse expenditure, had a certain standard of expenditure for each triclinium, so that when his servants were told which hall he was to sup in, they knew exactly the style of entertainment to be prepared; and there is a well-known story of the way in which he deceived Pompey and Cicero, when they insisted on going home with him to see his family supper, by merely sending word home that he would sup in the Apollo, one of the most splendid of his halls, in which he never gave an entertainment for less than 50,000 denarii, about $8,000. Sometimes the ceiling was contrived to open and let down a second course of meats, with showers of flowers and perfumed waters, while rope-dancers performed their evolutions over the heads of the company. The performances of these _funambuli_ are frequently represented in paintings at Pompeii. Mazois, in his work entitled "Le Palais de Scaurus," has given a fancy picture of the habitation of a Roman noble of the highest class, in which he has embodied all the scattered notices of domestic life, which a diligent perusal of the Latin writers has enabled him to collect. His description of the triclinium of Scaurus will give the reader the best notion of the style in which such an apartment was furnished and ornamented. For each particular in the description he quotes some authority. We shall not, however, encumber our pages with references to a long list of books not likely to be in the possession of most readers.

"Bronze lamps,[10] dependent from chains of the same metal, or raised on richly-wrought candelabra, threw around the room a brilliant light. Slaves set apart for this service watched them, trimmed the wicks, and from time to time supplied them with oil.

"The triclinium is twice as long as it is broad, and divided, as it were, into two parts--the upper occupied by the table and the couches, the lower left empty for the convenience of the attendants and spectators. Around the former the walls, up to a certain height, are ornamented with valuable hangings. The decorations of the rest of the room are noble, and yet appropriate to its destination; garlands, entwined with ivy and vine-branches, divide the walls into compartments bordered with fanciful ornaments; in the centre of each of which are painted with admirable elegance young Fauns, or half-naked Bacchantes, carrying thyrsi, vases and all the furniture of festive meetings. Above the columns is a large frieze, divided into twelve compartments; each of these is surmounted by one of the signs of the Zodiac, and contains paintings of the meats which are in highest season in each month; so that under Sagittary (December), we see shrimps, shell-fish, and birds of passage; under Capricorn (January), lobsters, sea-fish, wild-boar and game; under Aquarius (February), ducks, plovers, pigeons, water-rails, etc.

[Illustration: TRICLINIUM.]

"The table, made of citron wood[11] from the extremity of Mauritania, more precious than gold, rested upon ivory feet, and was covered by a plateau of massive silver, chased and carved, weighing five hundred pounds. The couches, which would contain thirty persons, were made of bronze overlaid with ornaments in silver, gold and tortoise-shell; the mattresses of Gallic wool, dyed purple; the valuable cushions, stuffed with feathers, were covered with stuffs woven and embroidered with silk mixed with threads of gold. Chrysippus told us that they were made at Babylon, and had cost four millions of sesterces.[12]

"The mosaic pavement, by a singular caprice of the architect, represented all the fragments of a feast, as if they had fallen in common course on the floor; so that at the first glance the room seemed not to have been swept since the last meal, and it was called from hence, _asarotos oikos_, the unswept saloon. At the bottom of the hall were set out vases of Corinthian brass. This triclinium, the largest of four in the palace of Scaurus, would easily contain a table of sixty covers;[13] but he seldom brings together so large a number of guests, and when on great occasions he entertains four or five hundred persons, it is usually in the atrium. This eating-room is reserved for summer; he has others for spring, autumn, and winter, for the Romans turn the change of season into a source of luxury. His establishment is so appointed that for each triclinium he has a great number of tables of different sorts, and each table has its own service and its particular attendants.

"While waiting for their masters, young slaves strewed over the pavement saw-dust dyed with saffron and vermilion, mixed with a brilliant powder made from the lapis specularis, or talc."

Pinacotheca, the picture-gallery, and Bibliotheca, the library, need no explanation. The latter was usually small, as a large number of rolls (_volumina_) could be contained within a narrow space.

Exedra bore a double signification. It is either a seat, intended to contain a number of persons, like those before the Gate of Herculaneum, or a spacious hall for conversation and the general purposes of society. In the public baths, the word is especially applied to those apartments which were frequented by the philosophers.

Such was the arrangement, such the chief apartments of a Roman house; they were on the ground-floor, the upper stories being for the most

## part left to the occupation of slaves, freedmen, and the lower

branches of the family. We must except, however, the terrace upon the top of all (solarium), a favorite place of resort, often adorned with rare flowers and shrubs, planted in huge cases of earth, and with fountains and trellises, under which the evening meal might at pleasure be taken.

The reader will not, of course, suppose that in all houses all these apartments were to be found, and in the same order. From the confined dwelling of the tradesman to the palace of the patrician, all degrees of accommodation and elegance were to be found. The only object of this long catalogue is to familiarize the reader with the general type of those objects which we are about to present to him, and to explain at once, and collectively, those terms of art which will be of most frequent occurrence.

The reader will gain a clear idea of a Roman house from the ground-plan of that of Diomedes, given a little further on, which is one of the largest and most regularly constructed at Pompeii.

We may here add a few observations, derived, as well as much of the preceding matter, from the valuable work of Mazois, relative to the materials and method of construction of the Pompeian houses. Every species of masonry described by Vitruvius, it is said, may here be met with; but the cheapest and most durable sorts have been generally preferred.