Museum of Antiquity Part 5

In the preceding pages we have taken indiscriminately, from all quarters of the town, houses of all cla.s.ses, from the smallest to the most splendid, in the belief that such would be the best way of showing the gradations of wealth and comfort, the different styles of dwelling adopted by different cla.s.ses of citizens, in proportion to their means. It would, however, be manifestly impossible so to cla.s.sify all the houses which contain something worthy of description, and we shall, therefore, adopt a topographical arrangement as the simplest one, commencing at the Gate of Herculaneum, and proceeding in as regular order as circ.u.mstances will permit through the excavated part of the town.

Most of the houses immediately about the gate appear to have been small inns or eating-houses, probably used chiefly by country people, who came into market, or by the lower order of travelers. Immediately to the right of it, however, at the beginning of the street called the Via Consularis, or Domitiana, there is a dwelling of a better cla.s.s, called the House of the Musician, from paintings of musical instruments which ornamented the walls. Among these were the sistrum, trumpet, double flute, and others. Upon the right side of the street, however, the buildings soon improve, and in that quarter are situated some of the most remarkable mansions, in respect of extent and construction, which Pompeii affords. They stand in part upon the site of the walls which have been demolished upon this, the side next the port, for what purpose it is not very easy to say; not to make room for the growth of the city, for these houses stand at the very limit of the available ground, being partly built upon a steep rock. Hence, besides the upper floors, which have perished, they consist each of two or three stories, one below another, so that the apartments next the street are always on the highest level. Those who are familiar with the metropolis of Scotland will readily call to mind a similar mode of construction very observable on the north side of the High Street, where the ground-floor is sometimes situated about the middle of the house.

One of the most remarkable of these houses contains three stories; the first, level with the street, contains the public part of the house, the vestibule, atrium, and tablinum, which opens upon a s.p.a.cious terrace. Beside these is the peristyle and other private apartments, at the back of which the terrace of which we have just spoken offers an agreeable walk for the whole breadth of the house, and forms the roof of a s.p.a.cious set of apartments at a lower level, which are accessible either by a sloping pa.s.sage from the street, running under the atrium, or by a staircase communicating with the peristyle. This floor contains baths, a triclinium, a s.p.a.cious saloon, and other rooms necessary for the private use of a family. Behind these rooms is another terrace, which overlooks a s.p.a.cious court surrounded by porticoes, and containing a piscina or reservoir in the centre. The pillars on the side next the house are somewhat higher than on the other three sides, so as to give the terrace there a greater elevation. Below this second story there is yet a third, in part under ground, which contains another set of baths, and, besides apartments for other purposes, the lodging of the slaves. This was divided into little cells, scarcely the length of a man, dark and damp; and we can not enter into it without a lively feeling of the wretched state to which these beings were reduced.

A few steps further on the same side, is another house somewhat of the same description, which evidently belonged to some man of importance, probably to Julius Polybius, whose name has been found in several inscriptions. Fragments of richly-gilt stucco-work enable us to estimate the richness of its decoration and the probable wealth of its owner. It will be readily distinguished by its immense Corinthian atrium, or rather peristyle. It has the further peculiarity of having two vestibules each communicating with the street and with the atrium.

The portico of the atrium is formed by arcades and piers, ornamented with attached columns, the centre being occupied by a court and fountain. These arcades appear to be enclosed by windows. Square holes, worked in the marble coping of a dwarf wall which surrounds the little court, were perfectly distinguishable, and it is concluded that they were meant to receive the window-frames.

Pliny the Younger describes a similar glazed portico at his Laurentine villa; and an antique painting, representing the baths of Faustina, gives the view of a portico, the apertures of which are entirely glazed, as we suppose them to have been here. The portico, and three apartments which communicate with it, were paved in mosaic. Attached to one of the corner piers there is a fountain. The kitchen and other apartments were below this floor. There was also an upper story, as is clear from the remains of stair-cases. This house extends to the point at which a by-street turns away from the main road to the Forum. We will now return to the gate, to describe the triangular island of houses which bounds the main street on the eastern side.

That close to the gate, called the House of the Triclinium, derives its name from a large triclinium in the centre of the peristyle, which is s.p.a.cious and handsome, and bounded by the city walls. The House of the Vestals is a little further on. What claim it has to this t.i.tle, except by the rule of contraries, we are at a loss to guess; seeing that the style of its decorations is very far from corresponding with that purity of thought and manners which we are accustomed to a.s.sociate with the t.i.tle of vestal. The paintings are numerous and beautiful, and the mosaics remarkably fine. Upon the threshold here, as in several other houses, we find the word "Salve" (Welcome), worked in mosaic. One may be seen in cut on page 30.

We enter by a vestibule, divided into three compartments, and ornamented with four attached columns, which introduces us to an atrium, fitted up in the usual manner, and surrounded by the usual apartments. The most remarkable of these is a triclinium, which formerly was richly paved with gla.s.s mosaics. Hence we pa.s.s into the private apartments, which are thus described by Bonucci:--"This house seems to have been originally two separate houses, afterwards, probably, bought by some rich man, and thrown into one. After traversing a little court, around which are the sleeping chambers, and that destined to business, we hastened to render our visit to the Penates. We entered the pantry, and rendered back to the proprietors the greeting that, from the threshold of this mansion, they still direct to strangers. We next pa.s.sed through the kitchen and its dependencies. The corn-mills seemed waiting for the accustomed hands to grind with them, after so many years of repose. Oil standing in gla.s.s vessels, chestnuts, dates, raisins, and figs, in the next chamber, announce the provision for the approaching winter, and large amphorae of wine recall to us the consulates of Caesar and of Cicero.

[Ill.u.s.tration: BROOCHES OF GOLD FOUND AT POMPEII.]

"We entered the private apartment. Magnificent porticoes are to be seen around it. Numerous beautiful columns covered with stucco, and with very fresh colors, surrounded a very agreeable garden, a pond, and a bath. Elegant paintings, delicate ornaments, stags, sphinxes, wild and fanciful flowers everywhere cover the walls. The cabinets of young girls, and their toilets, with appropriate paintings, are disposed along the sides. In this last were found a great quant.i.ty of female ornaments, such as seen in the cut, and others, and the skeleton of a little dog. At the extremity is seen a semicircular room adorned with niches, and formerly with statues, mosaics, and marbles.

An altar, on which the sacred fire burned perpetually, rose in the centre. This is the _sacrarium_. In this secret and sacred place the most solemn and memorable days of the family were spent in rejoicing; and here, on birthdays, sacrifices were offered to Juno, or the Genius, the protector of the new-born child."

The next house is called the House of a Surgeon, because a variety of surgical instruments were found in it. In number they amounted to forty; some resembled instruments still in use, others are different from anything employed by modern surgeons. In many the description of Celsus is realized, as, for instance, in the specillum, or probe, which is concave on one side and flat on the other; the scalper excisorius, in the shape of a lancet-point on one side and of a mallet on the other; a hook and forceps, used in obstetrical practice. The latter are said to equal in the convenience and ingenuity of their construction the best efforts of modern cutlers. Needles, cutting compa.s.ses (circini excisorii), and other instruments were found, all of the purest bra.s.s with bronze handles, and usually enclosed in bra.s.s or boxwood cases.

There is nothing remarkable in the house itself, which contains the usual apartments, atrium, peristyle, etc., except the paintings. These consist chiefly of architectural designs, combinations of golden and bronze-colored columns placed in perspective, surmounted by rich architraves, elaborate friezes, and decorated cornices, one order above another. Intermixed are arabesque ornaments, grotesque paintings, and compartments with figures, all apparently employed in domestic occupations.

One of them represents a female figure carrying rolls of papyrus to a man who is seated and intently reading. The method of reading these rolls or volumes, which were written in transverse columns across the breadth of the papyrus, is clearly shown here. Behind him a young woman is seated, playing on the harp. All these figures are placed under the light architectural designs above described, which seem intended to surmount a terrace. It is a common practice at the present day in Italy, especially near Naples, to construct light treillages on the tops of the houses, where the inhabitants enjoy the evening breeze, _al fresco_, in the same way as is represented in these paintings.

The peristyle is small, but in good preservation. Its inter-columniations are filled up by a dwarf wall painted red, the lower part of the columns being painted blue. This house runs through the island from one street to the other. Adjoining it, on the south, is the custom-house, _telonium_. Here a wide entrance admits us into an ample chamber, where many scales were found, and among them a steelyard, _statera_, much resembling those now in use, but more richly and tastefully ornamented.

[Ill.u.s.tration: SCALES FOUND AT POMPEII.]

Many weights of lead and marble were found here; one with the inscription, "Eme et habebis" (Buy and you shall have), also scales.

Near the custom-house is a soap manufactory. In the first room were heaps of lime, the admirable quality of which has excited the wonder of modern plasterers. In an inner room are the soap-vats, placed on a level with the ground.

Besides these, the block contains three houses which have been distinguished by names, the House of Isis and Osiris, the House of Narcissus, and the House of the Female Dancers. Of these the latter is remarkable for the beauty of the paintings which adorn its Tuscan atrium.

Among them are four very elegant figures of female dancers, from which the name given to the house is taken. Another represents a figure reposing on the border of a clear lake, surrounded by villas and palaces, on the bosom of which a flock of ducks and wild-fowl are swimming. The house of Narcissus is distinguished by the elegance of its peristyle; the inter-columniations are filled up by a dwarf wall, which is hollowed at the top, probably to receive earth for the cultivation of select flowers. Our materials do not admit of a fuller description of the houses in this quarter.

Pa.s.sing onwards from the House of Sall.u.s.t, the next island to the south, separated from it by a narrow lane, affords nothing remarkable, except the shop of a baker, to the details of which, in conjunction with the art of dyeing, we purpose to devote a separate chapter. It is terminated in a sharp point by the fountain before mentioned. The disposition of the streets and houses everywhere is most unsymmetrical, but here it is remarkably so, even for Pompeii. Just by the house with the double vestibule the main street divides into two, inclined to each other at a very acute angle, which form, together with a third cross street of more importance, called the Strada delle Terme, or Street of the Baths, another small triangular island.

The house of the apex was an apothecary's shop. A great many drugs, gla.s.ses, and vials of the most singular forms, were found here; in some of the latter fluids were yet remaining. In particular one large gla.s.s vase is to be mentioned, capable of holding two gallons, in which was a gallon and a half of a reddish liquid, said to be balsam.

On being opened, the contents began to evaporate very fast, and it was, therefore, closed hermetically. About an inch in depth of the contents has been thus lost, leaving on the sides of the vessel a sediment, reaching up to the level to which it was formerly filled.

The right-hand street leads to buildings entirely in ruins, the left-hand one, which is a continuation of the Via Consularis, or Domitiana, conducts us towards the Forum.

Immediately to the eastward of the district just described is the House of Pansa, which occupies a whole block. The block between it and the city walls, on the north, offers nothing remarkable. Beyond, still to the east, is a block separated from it by a narrow street, called the Via della Fullonica, and bounded on the other side by the Street of Mercury, which runs in a straight line from the walls nearly to the Forum. This block contains, besides several private houses of great beauty, the Fullonica, or establishment for the fulling and dyeing of woolen cloths. This, together with the bake-house above mentioned, will be described further on.

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HOUSE OF HOLCONIUS.

Pa.s.sing on the insula or block, bounded on the north by the Street of Holconius, on the south by the Street of Isis, on the west by the Street of the Theatres, and on the east by that of Stabiae, we find two remarkable houses excavated within the last few years. That at the northern corner of the street of the Theatres, numbered 4 on the entrance, is sometimes called the House of Holconius. The two stores which precede it, numbered 2 and 3, seem to have been the property of the master of the house, and communicate with each other. A third shop, numbered 1, at the angle of the street, appears to have been occupied by a dyer, and is called Taberna Offectoris. On the front of the house were some inscriptions for electioneering purposes.

The pilasters on either side of the main entrance are painted red to about the height of a man, beyond which they are of white plaster. On entering the prothyrum may be observed a large hole in the wall, destined for the reception of the _repagulum_, or strong wooden bar with which the door was secured. The door appears, from the places for bolts on the threshold, to have been composed of two pieces (bifora).

The walls of the prothyrum are painted black, with a red podium, divided into three compartments by green and yellow lines, in the middle of which are an aquatic bird, perhaps an _ibis_, a swan with spread wings, and an ornament that can not be made out. Towards the top the walls are painted with fantastic pieces of architecture on a white ground; amidst which, on one side, is a nymph descending apparently from heaven. She has a golden-colored vest, on her shoulders is a veil agitated by the breeze, and she bears in her hand a large dish filled with fruits and herbs. On the other side was a similar figure, playing on the lyre, with a sky-blue vest and rose-colored veil that fluttered about her. The remaining architectural paintings contained little winged Cupids, one holding a cornucopia, another a drum, and two with baskets of fruits and flowers. These were the good geniuses, which, by being depicted at the entrance of a house, repelled all evil influences and rendered it a joyful abode.

The pavement of the Tuscan atrium is variegated with small pieces of white marble placed in rows. The impluvium in the middle appears to have been under repair, as it is stripped of its marble lining. The walls of the atrium are painted red, with vertical black zones like pilasters, or _antae_, besides lines and ornaments of various colors.

On the wall to the left of the entrance is painted a rec.u.mbent Silenus, crowned with ivy, and pressing in his arms the little Bacchus, who in alarm is endeavoring to escape from his embraces. Near it, on a yellow ground, is the bearded head of a man, with two claws projecting from his temples like horns, and a beard floating as if it was in the water. It may probably be a mask of Ocea.n.u.s, who is represented on coins of Agrigentum in a somewhat similar manner. Under the head is the figure of a hippocampus.

Many objects were found in this atrium, some at the height of four or five yards from the floor, which must consequently have fallen in from the upper stories; and others on the pavement itself. But one of the most important discoveries was the skeleton of a woman, near the entrance of the tablinum. She appears to have been in the act of flight, and had with her a small box containing her valuables and nick-nacks. Among the most curious of these was a necklace composed of amulets, or charms, which, it will be observed, are all attributes of Isis and her attendant, Anubis, or of her husband Osiris, here considered as Bacchus. The mystic articles kept in the Isiac coffer were, says Eusebius, a ball, dice, (_turbo_) wheel, mirror, lock of wool.

The first bed-chamber on the right of the atrium communicated with the store No. 3, and was probably occupied by the slave who conducted the business of it. The first bed-chamber on the left had a similar communication with the store outside.

[Ill.u.s.tration: WALL PAINTING DISCOVERED AT POMPEII.]

There are few houses in Pompeii in which the paintings are more numerous or better preserved than in that which we are examining. The second bed-chamber on the right has several. In this room may be observed a s.p.a.ce hollowed in the wall to receive the foot of a bed or coutch. The walls are white, with a red podium, and are surmounted by a cornice from which springs the vault. The upper part is painted with lines, between which are depicted griffins in repose, baskets with thyrsi, branches of herbs, and other objects.

The lower part of the walls is divided into larger compartments by candelabra supporting little globes. In each compartment are eight small pictures, representing the heads and busts of Bacchic personages, in a very good state of preservation. On the left is Bacchus, crowned with ivy, his head covered with the _mitra_, a sort of veil of fine texture which descends upon his left shoulder. This ornament, as well as the cast of his features, reveals the half feminine nature of the deity. Opposite to him is the picture of Ariadne, also crowned with ivy, clothed in a green _chiton_ and a violet _himation_. She presses to her bosom the infant Iacchus, crowned with the eternal ivy, and bearing in his hand the thyrsus.

Then follow Bacchic or Panic figures, some conversing, some drinking together, some moving apparently in the mazes of the dance. Paris, with the Phrygian cap and crook, seems to preside over this voluptuous scene, and to listen to a little Cupid seated on his shoulder.

In the chamber on the opposite side of the atrium, fronting that just described, were also four pictures, two of which are destroyed, the walls having apparently been broken through, not long after the destruction of Pompeii, by persons in search of their buried property.

Of the other two, which are almost effaced, one represents an aged Faun, holding in his hands a thyrsus and a vase; the other a young woman conversing with an African slave. A wooden chest seems to have stood close to the left-hand wall.

The left _ala_, or wing, has its walls painted in yellow and red compartments, with a black podium. In the middle of each was a valuable painting, but these, with the exception of the greater part of one fronting the entrance, have been almost destroyed. The one saved represents Apollo, who has overtaken Daphne, and is clasping her in his arms, while the nymph, who has fallen on her knees, repels the embraces of the deity. A malicious little Cupid, standing on tiptoes, draws aside the golden-tissued veil which covered the nymph, and displays her naked form. On the left of the same apartment is a picture, almost effaced, of Perseus and Andromeda; and on the right another with three male figures, of which only the lower part remains.

The right _ala_, which, however, from its capability of being closed with a door, does not properly come under that denomination, seems, from various culinary utensils of metal and earthenware found in it, to have served as a kitchen, or rather perhaps as a store-closet.

The tablinum, opposite the entrance, and, as usual, without any enclosure on the side of the atrium, has a small marble threshold, and on its floor little squares of colored marbles surrounded with a mosaic border. The yellow walls, divided into compartments by vertical stripes of red, white, and black, were beautifully ornamented with the usual architectural designs and flying figures. On each side were two larger pictures, of which only that on the left of the spectator remains. It represents Leda showing to Tyndareus a nest containing the two boys produced from the egg. A stucco cornice runs round the wall, above which a flying nymph is painted on a white ground, between two balconies, from which a man and woman are looking down. There are also figures of sphinxes, goats, etc.

A wooden staircase on the left of the tablinum, the first step being of stone, led to the floor above. On the right is the pa.s.sage called _fauces_, leading to the peristyle. On its left-hand side, near the ground, was a rudely traced figure of a gladiator, with an inscription above, of which only the first letters, PRIMI, remain. On the left wall of the fauces, near the extremity, and level with the eye, is another inscription, or _graffito_, in small characters, difficult to be deciphered from the unusual _nexus_ of the letters, but which the learned have supposed to express the design of an invalid to get rid of the pains in his limbs by bathing them in water.

At the extremity of the _fauces_, on the right, there is an entrance to a room which has also another door leading into the portico of the peristyle. The walls are painted black and red, and in the compartments are depicted birds, animals, fruits, etc. Two skeletons were found in this room. In the apartment to the left, or east of the tablinum, of which the destination can not be certainly determined, the walls are also painted black, with architectural designs in the middle, and figures of winged Cupids variously employed. On the larger walls are two paintings, of which that on the right represents the often-repeated subject of Ariadne, who, just awakened from sleep, and supported by a female figure with wings, supposed to be Nemesis, views with an att.i.tude of grief and stupor the departing s.h.i.+p of Theseus, already far from Naxos. On the left side is a picture of Phryxus, crossing the sea on the ram and stretching out his arms to h.e.l.le, who has fallen over and appears on the point of drowning. The form of this chamber, twice as long as it is broad, its vicinity to the kitchen, and the window, through which the slaves might easily convey the viands, appear to show that it was a triclinium, or dining-room.

The floor, which is lower by a step than the peristyle, is paved with _opus Signinum_, and ornamented only at one end with a mosaic. On one of the walls, about ten feet from the floor, is the _graffito_, _Sodales Avete_ (Welcome Comrades), which could have been inscribed there only by a person, probably a slave, mounted on a bench or a ladder.

The viridarium, or xystus, surrounded with s.p.a.cious porticoes, was once filled with the choicest flowers, and refreshed by the grateful murmur of two fountains. One of these in the middle of the peristyle is square, having in its centre a sort of round table from which the water gushed forth. The other fountain, which faces the tablinum, is composed of a little marble staircase, surmounted by the statue of a boy having in his right hand a vase from which the water spirted, and under his left arm a goose. The statue is rather damaged.

Many objects were found in the peristyle, mostly of the kind usually discovered in Pompeian houses. Among them was an amphora, having the following epigraph in black paint:

COUM. GRAN.

OF.

ROMae. ATERIO. FELICI.

which has been interpreted to mean that it contained Coan wine flavored with pomegranate, and that it came from Rome, from the stores of Aterius Felix.

The portico is surrounded by strong columns, and seems to have had a second order resting on the first, as may be inferred from some indications to the right of him who enters from the _fauces_. The walls are painted red and black, with architectural designs, candelabra, meanders, birds, winged Cupids, etc. There are also fourteen small pictures enclosed in red lines, eight of which represent landscapes and sea-sh.o.r.es, with fishermen, and the other six fruits and eatables. On the wall on the right side is the following _graffito_, or inscription, scratched with some sharp instrument:

IIX. ID. IVL. AXVNGIA. PCC.