Part 42

Two theaters, the smaller one particularly, are in an excellent state of preservation. The structure of this one is such as was usually adopted by the ancients, and is better arranged than some of modern construction, as it affords the spectators commodious seats, a free view of the stage, and facility of hearing. Although sufficiently large to contain two thousand persons, the plebeians, standing in a broad gallery at the top, were quite as able to see all that was passing on the stage, as the magistrate in his marble balcony. In this gallery the arrangements for spreading the sail-cloth over the spectators are still visible. The stage itself is very broad, as it has no side walls; and appears less deep than it really is. A wall runs across it, and cuts off just as much room as is necessary for the accommodation of the performers. But this wall has three very broad doors; the middle one is distinguished by its hight, and the space behind it is still deeper than in front. If these doors, as may be conjectured, always stood open, the stage was in fact large, and afforded besides the advantage of being able to display a double scenery: if, for example, the scene in front was that of a street, there might have been behind a free prospect into the open field.

The cemetery lies before the gate of the high road. The tomb of the priestess Mammea is very remarkable: it was erected, according to the epitaph, by virtue of a decree of the decemvirs. In the midst of little boxes of stone, in square piles, and on a sort of altar, the family urns were placed in niches; and without these piles the broken masks are still to be seen. In front of the cemetery, by the road-side, is a beautiful seat, forming a semicircle, that will contain twenty or thirty persons. It was probably overshaded by trees eighteen hundred years ago; under which the women of Pompeii sat in the cool evenings, while their children played before them, and viewed the crowds which were passing through the gate.

To the above particulars from the pen of the elegant and lively Kotzebue, the following details, given by a later and accurate traveler, are subjoined. The entrance into Pompeii is by a quadrangular court; and this court is surrounded on every side by a colonnade which supports the roof of a gallery; and the latter leads to several small apartments, not unlike the cells of a prison. The columns are of brick, stuccoed over, and painted of a deep red: they are in hight from ten to twelve feet, are placed at about a like distance from each other, and are of the Doric order, fluted two-thirds from the top, and well proportioned. After a variety of conjectures relative to the purpose to which this building was applied, it has been ascertained that it was either a barrack for soldiers, (various pieces of armor having been found in some of the cells,) or the prætorium of the governor, where a body of military must have been stationed. Adjacent to it stood the theaters, the forum, and one or two temples, all connected by very neat and well-paved courts. The smaller of the theaters is to the right, and is called the covered theater, because it was so constructed, that by the means of canvas awnings, the spectators were defended from the sun and rain. A door through the wall leads to the different galleries, and to the open space in the center, resembling the pit of a modern theater. The interior is beautifully neat; and with the exception of the spoliation of the marble slabs, removed to the palace at Naples, with which the whole of the inside, not excepting the seats, had been covered, it is in excellent preservation. On each side are the seats for the magistrates; the orchestra, as in modern theaters, is in front of the stage; and the latter, with its brick wings, is very shallow. This theater was calculated to contain about two thousand spectators. From its level a staircase leads to an eminence on which several public buildings are situated. The most conspicuous of these is a small temple said to have been dedicated to Isis, and having a secret passage, perforated in two places, whence the priests are supposed to have delivered to the deluded multitude the oracles of that deity.

Within a paved court is an altar, of a round shape, on the one side, and on the other side a well. A cistern, with four apertures, was placed at a small distance, to facilitate the procuring of water. In this court, sacrifices and other holy rites are conjectured to have taken place, various utensils for sacrifice, such as lamps, tripods, &c., having been found, when the place was first excavated. One of the tripods is of the most admirable workmanship. On each of the three legs, a beautiful sphinx, with an unusual head-dress, is placed, probably in allusion to the hidden meanings of the oracles which were delivered in the above-mentioned temple. The hoop in which the basin for the coals was sunk, is elegantly decorated with rams’ heads connected by garlands of flowers; and within the basin, which is of baked earth, the very cinders left from the last sacrifice (nearly two thousand years ago) are seen as fresh as if they had been the remains of yesterday’s fire!

From the above court, you enter on a somewhat larger, with a stone pulpit in the center and stone seats near the walls. The spot, therefore, was either the auditory of a philosopher, or the place where the public orators pleaded in the presence of the people. Everything here is in the highest order and preservation.

The great amphitheater proudly rears its walls over every other edifice on the same elevated spot. It is a stupendous structure, and has twenty-four rows of seats, the circumference of the lowest of which is about seven hundred and fifty feet. It is estimated to have contained about thirty thousand spectators. The upper walls are much injured, having partially projected above ground long before the discovery of Pompeii.

A corn-field leads to the excavated upper end of the high street, which consists of a narrow road for carts, with foot-pavements on each side. The middle is paved with large blocks of marble, and the ruts of the wheels proclaim its antiquity, even at the time of its being overwhelmed. The foot-paths are elevated about a foot and a half from the level of the carriage-road. The houses on each side, whether shops or private buildings, have no claim to external elegance: they consist of a ground-floor only, and, with the exception of the door, have no opening toward the street. The windows of the private houses look into an inner square court, and are in general very high. The apartments themselves are, with the exception of one in each house, which probably served as a drawing-room, both low and diminutive. In point of decoration they are neat, and, in many instances, elegant: the floors generally consist of figured pavements, either in larger stones of various colors, regularly cut and systematically disposed, or are formed of a beautiful mosaic, with a fanciful border, and an animal or figure in the center. The geometrical lines and figures in the design of the borders, have an endless variety of the most pleasing shapes, to display the fertile imagination of the artists. Their tesselated pavements alone must convince us that the ancients were well skilled in geometry. The ground is usually white, and the ornaments black; but other colors are often employed with increased effect.

The walls of the apartments are equally (if not still more) deserving attention. They are painted, either in compartments, exhibiting some mythological or historical event, or simply colored over with a light ground, adorned with a border and perhaps an elegant little vignette, in the center or at equal distances. But few of the historical paintings now exist in Pompeii; for wherever a wall was found to contain a tolerable picture, it was removed and deposited in the museum at Naples. To effect this, the greatest care and ingenuity were required, so as to peel off, by the means of sawing pieces of wall, twenty and more square feet in extent, without destroying the picture. This, however, was not a modern invention; for, among the excavated remains of Stabiæ, the workmen came to an apartment containing paintings which had been separated by the ancients themselves from a wall, with the obvious intent of their being introduced in another place. This was, however, prevented by the ruin of the city; and the paintings, therefore, were found leaning against the wall of the apartment.

Another excavated portion of Pompeii is likewise part of a street, and, being perfectly in a line with the one already described, is conjectured to be a continuation, or rather the extremity of the latter; in which case Pompeii must have been a city of considerable importance, and its main street nearly a mile in length. The houses here, as in the other instance, are distributed into shops and private dwellings, some of the latter of which are distinguished by the remains of former internal elegance, such as tesselated pavements, painted walls, &c.: most of them have likewise an interior court, surrounded by apartments.

THE MUSEUM AT NAPLES.

The museum was formerly at Portici, but was removed to Naples some years ago and is now called the Musæo Borbonico. The best statues, busts, vases, and in short, whatever was supposed, from its materials or construction, to have a superior value, were packed in fifty-two chests, and conveyed from Portici to Palermo, at the time the court sought refuge in that city, on the French penetrating into the Neapolitan territory. What still remains, however, in the museum, has a high intrinsic value; since no one can behold, without the strongest emotions of admiration, the relics of the most transitory things, which for nearly eighteen hundred years, have braved the ravages of time. Here are to be seen bread, corn, dough which was about to be placed in the oven, soap which had been used for washing, figs, and even egg-shells perfectly white, and in as good a state as if the cook had broken them an hour before. Here a kitchen presents itself provided with everything requisite: trivets and pots stand on the hearth; stew-pans hang on the wall; skimmers and tongs are placed in the corner; and a metal mortar rests on the shaft of a pillar. Weights, hammers, scythes, and other utensils of husbandry, are here blended with helms and arms. Sacrificing bowls and knives; a number of well shaped glasses; large and small glass bottles; lamps; vases; decorations for furniture; a piece of cloth; nets; and even shoe soles; all sorts of female ornaments—necklaces, rings and ear-rings; a wooden chess-board, reduced, indeed, to a cinder: all these things are more or less injured by the fire; but still are distinguishable at first sight.

Every apartment of the museum is laid with the most charming antique floors, which are partly mosaic, from Pompeii, and partly marble, from Herculaneum. Statues, vases, busts, chandeliers, altars, tables of marble and bronze, are all in as good a state as if they had just come from the hands of the artist. The coins which have been collected are very numerous, and fill several cases. Medallions of marble, containing on each side a bas-relief, are suspended by fine chains from the ceiling of one of the apartments, and are within the reach of the hand, so as to be conveniently turned and examined.

Most of the pictures found at Herculaneum, Pompeii and Stabiæ, and now deposited in the museum, have been sawed from the walls of the edifices they adorned. These unique relics of ancient art form an extensive gallery of genuine antique pictures, the only one in the world, and may on that account alone, be considered as an invaluable treasure. They are placed in a range of apartments on the ground floor, and are suspended against the walls in plain frames. Their size varies from a foot square, to whole-length groups, nearly as large as life. Beside the injury they have sustained by having been exposed to the heat of burning cinders, they have been impaired by the modern varnish which was intended to protect them: it would, therefore, not be right to subject their coloring to the rigid rules of art; but the grouping of the Minotaur, of the Telephus, of the sitting Orestes, and of the Bacchus and Ariadne, is admirable. In their paintings, as well as in their sculptures, the ancients were influenced by that love of simplicity which distinguishes their works from those of the moderns, and the result is, that in them the chief merits of composition are combined, unity of subject, and unity of interest. When, again, it is considered that the paintings collected in the museum at Naples were taken from the provincial towns, it must be inferred, that those which were admitted in the chief seats of art corresponded in excellence with the Laocoön and the Apollo. Such, at least, was the judgment of the ancients themselves, and their taste is not to be disputed.

[Illustration: PAPYRI.]

The museum at Naples excels all others in ancient bronze, a substance which, although dearer, more difficult to be wrought, more inviting to the rude grasp of avarice, and less beautiful than marble, forms the greater proportion of the statues. The larger of them had been originally composed of pieces connected by dove-tail joints; and these promiscuous fragments have been recompiled into new figures, as in the instance of the single horse made from four, in the center of the court-yard of the museum. Those fragments which had escaped fusion, were rent, inflated, or bruised, by the burning lava. In addition to these misfortunes, they have been made up unhappily; for the eye of an artist can sometimes detect two styles of art, evidently different, the large and the exquisite, soldered together in the same statue. The figures the most admired are, the drunken Faun, the sleeping Faun, the sitting Mercury, the Amazon adjusting her robe, and an Augustus and a Claudius, both of heroic size.

The most remarkable objects in the museum at Naples are the manuscripts, found in two chambers of a house at Herculaneum. Although they have been so frequently described, they must be seen, to furnish a correct idea of them. Before they are unrolled, they resemble sticks of charcoal, or cudgels reduced to the state of a cinder, and partly petrified. Their general appearance before they are unrolled may be seen on the previous page. In color they are black and chesnut-brown: and they are unfortunately so decayed, that under each of them, as they lie in glass cases, a quantity of dust and detached fragments may be perceived. Their characters are legible in a certain light only, by a gloss and relief which distinguishes the ink, or rather black paint, from the tinder. Cut, crushed, crumbled on the edge, and caked by the sap remaining in the leaves of the papyrus, they require in the operator great sagacity to meet the variety of injuries they have received; since, in gluing rashly the more delicate parts, he might reach the heart of a volume, while working at the outside. At first, it appeared almost impracticable ever to decipher a syllable of them; but to the industry and talents of man nothing is impossible, and his curiosity impels him to the most ingenious inventions.

HERCULANEUM.

This city was, together with Pompeii and Stabiæ, involved in the common ruin occasioned by the dreadful eruption of Vesuvius, in the reign of Titus, which has already been described in our previous pages.

It was situated on a point of land stretching into the gulf of Naples, about two miles distant from that city, near where the modern towns of Portici and Resini, and the royal palace, by which they are separated, now stand. The neck of land on which it was built, and which has since disappeared, formed a small harbor. Hence the appellation of =Herculis Porticum=, (the small haven of Hercules,) sometimes given to Herculaneum, and thence in all probability, the modern name of Portici.

The latter being situated immediately above some of the excavations of Herculaneum, the just fear of endangering its safety, by undermining it, is given as a principal reason why so little progress has been made in the Herculanean researches.

The discovery of Herculaneum is thus explained. At an inconsiderable distance from the royal palace of Portici, and close to the seaside, Prince Elbeuf, in the beginning of the last century, inhabited an elegant villa. To obtain a supply of water a well was dug, in the year 1730, through the deep crust of lava on which the mansion itself had been reared. The laborers, after having completely pierced through the lava, which was of considerable depth, came to a stratum of dry mud. This event precisely agrees with the tradition relative to Herculaneum, that it was in the first instance overwhelmed by a stratum of hot mud, which was immediately followed by a wide stream of lava. Whether this mud was thrown up from Vesuvius, or formed by torrents of rain, does not appear to have been decided. Within the stratum the workmen found three female statues, which were sent to Vienna.

It was not until some years after this, that the researches at Herculaneum were seriously and systematically pursued. By continuing Elbeuf’s well, the excavators at once came to the theater, and from that spot carried on their further subterraneous investigation. The condition of Herculaneum was at that time much more interesting, and more worthy the notice of the traveler, than it is at present. The object of its excavation having unfortunately been confined to the discovery of statues, paintings, and other curiosities, and not carried on with a view to lay open the city, and thus to ascertain the features of its buildings and streets, most of the latter were again filled up with rubbish as soon as they were divested of everything movable. The marble even was torn from the walls of the temples. Herculaneum may therefore be said to have been overwhelmed a second time by its modern discoverers; and the appearance it previously presented, can now only be ascertained from the accounts of those who saw it in a more perfect state. Agreeably to them, it must at that time have afforded a most interesting spectacle.

The theater was one of the most perfect specimens of ancient architecture. It had, from the floor upward, eighteen rows of seats, and above these, three other rows, which, being covered with a portico, seem to have been intended for the female part of the audience, to screen them from the rays of the sun. It was capable of containing between three and four thousand persons. Nearly the whole of its surface, as well as the arched walls which led to its seats, was cased with marble. The area, or pit, was floored with thick squares of =giallo antico=, a beautiful marble of a yellowish hue. On the top stood a group of four bronze horses, drawing a car, with a charioteer, all of exquisite workmanship. The pedestal of white marble is still to be seen in its place; but the group itself had been crushed and broken in pieces by the immense weight of lava which fell on it. The fragments having been collected, might easily have been brought together again, but having been carelessly thrown into a corner, a part of them were stolen, and another portion fused, and converted into busts of their Neapolitan majesties. At length, it was resolved to make the best use of what remained, that is, to convert the four horses into one, by taking a fore leg of one of them, a hinder leg of another, the head of a third, &c., and, where the breach was irremediable, to cast a new piece. To this contrivance the bronze horse now shown in the museum of Naples owes its existence; and, considering its patchwork origin, it still conveys a high idea of the skill of the ancient artist.

In the forum, which was contiguous to the theater, beside a number of inscriptions, columns, &c., two beautiful equestrian statues of the Balbi family were found. These were of white marble, and were deposited in the hall of the left wing of the palace at Portici. Adjoining to the forum stood the temple of Hercules, an elegant rotunda, the interior of which was decorated with a variety of paintings, such as Theseus returning from his Cretan adventure with the Minotaur, Telephus’s birth, Chiron, the centaur, instructing Achilles, &c. These were carefully separated from the walls, and are deposited in the museum at Naples.

The most important discovery, however, was that of a villa, at a small distance from the forum; not only on account of the peculiarity of its plan, but because the greater number of the works of art were dug out of its precinct; and more especially because it contained a library consisting of more than fifteen hundred volumes, which are likewise safely deposited in the museum, and which, were they legible, would form a great classic treasure. These have been mentioned in the account of the museum at Naples, which will be found on a previous page. The villa is conjectured to have belonged to one of the Balbi family. Although elegant, it was small, and consisted of a ground-floor only, like those of Pompeii. Beside a number of small closets round an interior hall, it contained a bathing-room, curiously fitted up with marble and water-pipes, and a chapel of a diminutive size, without any window or aperture for daylight, the walls of which were painted with serpents, and within which a bronze tripod, filled with cinders and ashes, was found standing on the floor. The apartment which contained the library was fitted up with wooden presses around the walls, about six feet in hight: a double row of presses stood insulated in the middle of the room, so as to admit a free passage on every side. The wood of which the presses had been made, was burned to a cinder, and gave way at the first touch; but the volumes, composed of a much more perishable substance, the Egyptian or Syracusan papyrus, were, although completely carbonized through the effect of the heat, still so far preserved as to admit of their removal to a similar set of modern presses, (provided, however, with glass doors,) in the museum.