Chapter LVII The Graffiti
The graffiti form the largest division of the Pompeian inscriptions, comprising about three thousand examples, or one half of the entire number; the name is Italian, being derived from a verb meaning ‘to scratch.’ Writing upon walls was a prevalent habit in antiquity, as shown by the remains of graffiti at Rome and other places besides Pompeii, a habit which may be accounted for in part by the use of the sharp-pointed stylus with wax tablets; the temptation to use such an instrument upon the polished stucco was much greater than in the case of pens and lead pencils upon the less carefully finished wall surfaces of our time. Pillars or sections of wall are covered with scratches of all kinds,—names, catchwords of favorite lines from the poets, amatory couplets, and rough sketches, such as a ship, or the profile of a face. The skit, occasionally found on walls to-day,
‘Fools’ names, like their faces,
Are always seen in public places,’
has its counterpart in the couplet preserved as a graffito both at Pompeii and at Rome: Admiror, paries, te non cecidisse ruinis, Qui tot scriptorum taedia sustineas,—
‘Truly ’tis wonderful, Wall, that you have not fallen in ruins,
Forced without murmur to bear the taint of so many hands.’
Of a similar vein is a Greek line scratched upon a wall on the Palatine hill in Rome: ‘Many persons have here written many things; I alone refrained from writing.’
Taken as a whole, the graffiti are less fertile for our knowledge of Pompeian life than might have been expected. The people with whom we should most eagerly desire to come into direct contact, the cultivated men and women of the ancient city, were not accustomed to scratch their names upon stucco or to confide their reflections and experiences to the surface of a wall. Some of the graffiti, to judge from the height at which we find them above the floor, were undoubtedly made by the hands of boys and girls; for the rest, we may assume that the writers were as little representative of the best elements of society as are the tourists who scratch or carve their names upon ancient monuments to-day. Nevertheless, we gain from these scribblings a lively idea of individual tastes, passions, and experiences.
A few graffiti have reference to events, as the siege of Sulla, in 89 B.C. (p. 240). The most interesting historical examples are those which relate to the conflict between the Pompeians and the Nucerians, in the year 59 A.D. (p. 220). An ardent Pompeian wrote: Nucerinis infelicia,—‘Down with the Nucerians!’ From a scribbling by a partisan of the other side it appears that the inhabitants of Puteoli sympathized with the Nucerians, while those of Pithecusae—the island of Ischia—favored the Pompeians: Puteolanis feliciter, omnibus Nucherinis felicia, et uncu[m] Pompeianis [et] Pitecusanis,—‘Hurrah for the Puteolaneans, good luck to all Nucerians; a hook for the Pompeians and Pithecusans.’ The hook referred to in this connection was that used by executioners and the attendants of the Amphitheatre in dragging off the dead. Another Pompeian wrote: Campani, victoria una cum Nucerinis peristis,—‘Campanians, you were conquered by the same victory with the Nucerians.’ The Campani were not the inhabitants of Campania, but of the suburb called Pagus Campanus.
Two inscriptions, attesting the presence of members of the Praetorian Guard in Pompeii, have been previously mentioned (pp. 387, 401). Another praetorian left his name in a house of the eighth Region (VIII. iii. 21): Sex. Decimius Rufus milis coh[ortis] V pr[aetorianae] Ↄ Martialis,—‘Sextus Decimius Rufus, a soldier of the fifth praetorian cohort, of the century led by Martialis.’ To the same division of the army probably belonged a centurion of the first rank, Q. Spurennius Priscus, whose name was found in a house of the first Region (I. iii. 3). The first, fifth, and ninth praetorian cohorts, mentioned in the graffiti, may have come to Pompeii with different emperors, or on different occasions with the same emperor; it is unlikely that the three were united to form a single escort.
Graffiti are sometimes useful for the identification of buildings; so in the case of the Basilica and of several inns. The dated examples throw some light on the age of the stucco on which they are found. They are for the most part late, and afford little help in determining the time of commencement of the various decorative styles; but in several cases they indicate a later limit clearly. In this way we learn that the decoration of the Basilica, in the first style, was finished before October 3, 78 B.C.—how long before we cannot tell; and that in 37 B.C. the plastering of the Small Theatre was already on the walls, decorated in the second style. The gladiatorial graffito in the house of the Centenary (p. 226) proves that the decoration of the room in which it is found—a late example of the second style—was finished before November, A.D. 15. A dated inscription of the reign of Nero is given in the chapter on the house of the Silver Wedding (p. 305).
Several hundred graffiti present merely the name of the scribbler, sometimes with the addition hic fuit,—‘was here,’ or simply hic; as, Paris hic fuit, Sabinus hic.
A large number contain a greeting, perhaps in some cases intended for the eye of the person mentioned, as Aemilius Fortunato fratri salutem,—‘Aemilius greets his brother Fortunatus.’ In this as in other examples it is interesting to note that one brother is designated by the gens name, the other by the cognomen. Sometimes the greeting is the reverse of cordial, as in this instance: Samius Cornelio, suspendere,—‘Samius to Cornelius: go hang yourself.’ Hardly less naïve is the message to a friend who has died: Pyrrhus Chio conlegae sal[utem]: moleste fero, quod audivi te mortuom; itaq[ue] vale,—‘Pyrrhus to his chum Chius: I’m sorry to hear that you are dead; and so, Good-by.’
The most prominent theme of the graffiti is love, which is constantly reappearing, in prose scribblings and in snatches of verse. The verse form is usually the elegiac distich. Some of the lines are taken from the poets; others were made up for the occasion, and not a few verses were finished in prose, as if the would-be versifier found original composition more difficult than he had anticipated.
Several distichs extol the power of love, as the following, which, taken from some unknown poet, is found in several places: Quisquis amat, valeat, pereat qui nescit amare; Bis tanto pereat quisquis amare vetat:—
‘Good health be with you, lovers all;
Who knows not how to love, be cursed;
But oh may double ruin fall
On him who sets out love to worst!’
A similar thought finds expression in a single line, perhaps also a quotation: Nemo est bellus nisi qui amavit mulierem,—‘He who has never been in love can be no gentleman.’
Not all the Pompeians, however, viewed the matter so seriously. To the first line of the couplet just quoted a scribbler of a cynical turn in one instance joined a parody, to the effect that those who are in love may well avoid the use of hot baths, on the principle that ‘the burnt child dreads the fire,’—Nam nemo flammas ustus amare potest.
The uselessness of interference with the course of love is also made prominent. In this distich, apparently from some poet, the scribbler seems to have made a slight change to meet a specific case, substituting obiurgat for custodit or some similar word: Alliget hic auras, si quis obiurgat amantes, Et vetat assiduas currere fontis aquas,—
‘Whoever has a mind
To hinder lovers’ way,
Let him go zephyrs bind
Or running waters stay.’
Ancient lovers nevertheless had their fears, and the following couplet, which is no doubt borrowed from a poet, appears also, in a slightly different form, on a wall in Rome: Si quis forte meam cupiet violare puellam, Illum in desertis montibus urat Amor,—
‘If any man shall seek
My girl from me to turn,
On far-off mountains bleak
May Love the scoundrel burn.’
Of extant elegiac poets Ovid, Propertius, and Tibullus are quoted or paraphrased. Among the quotations is the familiar couplet of Propertius: Nunc est ira recens, nunc est discedere tempus; Si dolor afuerit, crede, redibit amor,—
‘Now is it time to depart,
Now anger freshly burns;
When one ceases to feel the smart,
Believe me, love returns.’
If it was written by a lover after a quarrel, reconciliation was not far off. Another discouraged suitor perhaps consoled himself by writing on the wall of the Basilica this distich from Ovid’s “Art of Love,” the form of which differs slightly from that given in the manuscripts: Quid pote tam durum saxso aut quid mollius unda? Dura tamen molli saxsa cavantur aqua,—
‘What is so hard as rock, or what can be softer than water?
Hard rocks nevertheless by water are worn away.’
Amatory inscriptions often have the form of a message or greeting to a loved one, as in this example: Victoria, vale, et ubique es, suaviter sternutes,—‘Health to you, Victoria, and wherever you are may you sneeze sweetly,’ that is, may good luck follow you. Often the greeting is more ardent, as that to Cestilia: Cestilia, regina Pompeianorum, anima dulcis, vale,—‘Cestilia, queen of the Pompeians, sweet soul, greeting to you.’
Sometimes the lover avoided writing the lady’s name: Pupa quae bella es, tibi me misit qui tuus est; vale,—‘Maiden who are so beautiful, he who is yours sent me to you; good-by.’ Now and then we find an inscription of this class that leaves an unfavorable impression. The following is repeated several times on the outside of a house in the first Region: Serenae sodales sal[utem],—‘Greeting to Serena, from her companions!’
Spurned lovers also confided their woes to graffiti, sometimes adding an appeal to the obdurate one, as in this wretched couplet, which can scarcely have been taken from a poet; the play upon words in the last clause was apparently intentional: Si quid amor valeat nostei, sei te hominem scis, Commiseresce mihi, da veniam ut veniam,—
‘If you a man would be,—
If you know what love can do,—
Have pity, and suffer me
With welcome to come to you.’
It was probably a lover in straits who scratched on the wall a line of the Aeneid (IX. 404) as a prayer to Venus: Tu, dea, tu praesens nostro succurre labori,—
‘Thou, goddess, with thy present help
Our sore distress relieve.’
Another unsuccessful suitor found the lines of a single poet inadequate to express his feelings, and joined together a couplet from Ovid (Am. I. viii. 77-78) and one from Propertius (IV. v. 47-48) in order to voice his complaint against a miserly mistress who barred her door upon all except wealthy lovers. But the climax is reached in four lines of irregular verse in which the rejected lover proposes to vent his anger on the goddess of love herself: ‘All lovers, come! I purpose to break the ribs of Venus and to smash the small of her back with clubs; if she can bore a hole in my tender breast, why can I not break her head with a cudgel?’ From the psychological point of view the complete identification of the goddess with a statue representing her is noteworthy.
Occasionally a pair of lovers left on a wall a record of a meeting; thus, Romula hic cum Staphylo moratur,—‘Romula tarried here with Staphylus.’ Staphylus, however, was apparently a flirt; in the house of Caecilius Jucundus a similar meeting with another maiden is recorded on a column of the peristyle: Staphilus hic cum Quieta. But Staphylus does not seem to have gained the confidence of the fair sex to the extent that another Pompeian gallant did, of whom we find it written: Restitutus multas decepit saepe puellas,—‘Restitutus has many times deceived many girls.’
The names of husband and wife are sometimes joined together, as in a room of a house in the ninth Region: L. Clodius Varus, Pelagia coniunx; there is a similar example in a house ruined by the earthquake of the year 63, [Ba]lbus et Fortunata, duo coiuges.
We find a pleasing instance of marital affection in a graffito in which a lonely wife sends a greeting to an absent husband and other relatives: Hirtia Psacas C. Hostilio Conopi coniugi suo manuductori et clementi monitori et Diodot[a]e sorori et Fortunato fratri et Celeri suis salutem semper ubique plurimam, et Primigeniae suae salutem,—‘Hirtia Psacas at all times and in all places sends heartiest greeting to Gaius Hostilius Conops, her husband and guide and gentle adviser, and to her sister Diodota, her brother Fortunatus and her Celer; and she sends a greeting to her Primigenia, too.’ The names of both husband and wife are Greek, psacas signifying ‘dewdrop,’ and conops ‘gnat.’
Many happenings are chronicled on the walls; and there are memoranda of every description. The programmes of gladiatorial combats have already been mentioned (p. 223). One man records the result of a trip to Nuceria, where he won at the gaming table—without cheating, he takes pains to add—a sum amounting to $130: Vici Nuceriae in alia (for alea) 𐆖 DCCCLVS, fide bona,—‘At Nuceria, I won 855.5 denarii by gaming, fair play.’
Another Pompeian counted the steps as he walked up and down the colonnade at the side of his garden (in the house VII. ii. 41) for exercise; he recorded 640 paces for ten turns back and forth.
In the peristyle of a house in the first Region the advent of young pigs, or of puppies, is noted: XV K[alendas] Nov[embres] Puteolana peperit mascl[os] III, femel[as] II,—‘On October 17 Puteolana had a litter consisting of 3 males and 2 females.’
The inscriptions relating to business transactions are reserved for another chapter. We may notice here, however, that memoranda of accounts were sometimes scratched on walls, usually containing only the figures indicating measure or price, as in the shops on the south side of the Macellum. The following is from a bakery in the first Region (I. iii. 27): Oleum, l[ibra], a[ssibus] IV; palea a. V; faenum a. XVI; diaria a. V; furfure a. VI; viria I a. III; oleum a. VI,—‘Oil, a pound, 4 asses; straw, 5 asses; hay, 16 asses; a day’s wages, 5 asses; bran, 6 asses; one wreath for the neck, 3 asses; oil, 6 asses.’ The value of the as varied; in the Early Empire it was nearly equivalent to 1½ pence, or 3 cents.
Children scratched upon walls the alphabet that they were learning. The frequent quotations from Virgil, generally incomplete, are likewise an echo of lessons at school, where this author was carefully studied; we find very often the beginnings of lines at the opening of a book, as Arma virumque cano, or Conticuere omnes. The first word of the poem of Lucretius, Aeneadum, also occurs several times.
Occasionally gnomic quotations are found, in most cases, perhaps, from writers of comedy. Among them is the well-known maxim, Minimum malum fit contemnendo maxumum,—‘The smallest evil, if neglected, will reach the greatest proportions.’ A proverb more concrete in its form of statement is the following: Moram si quaeres, sparge milium et collige,—‘If you want to waste your time, scatter millet and pick it up again.’
CHAPTER LVIII
INSCRIPTIONS RELATING TO BUSINESS AFFAIRS
The most important inscriptions relating to business transactions are the receipts, discovered in 1875, which formed a part of the private accounts of L. Caecilius Jucundus (p. 447). They were written on wax tablets, which were carefully packed in a wooden box. The box, which was in the second story of the house, crumbled to pieces when the volcanic dust about it was removed; but many of the tablets, 154 in number, still retained their shape and were taken to the Naples Museum. The wood of the tablets had turned to charcoal, but the writing has been for the most part deciphered. One receipt dates from 15 A.D., another from the year 27; the rest belong to the decade immediately preceding the earthquake, 52-62 A.D. The documents are of the greatest interest as casting light on the business methods of antiquity.
Most of the tablets are triptychs. The three leaves were tied at the back so as to open like the leaves of a book, making six pages (Fig. 274). The average height is about 5 inches, the width varies from 2 to 4 inches. Pages 1 and 6 served as covers, being left smooth and without writing. Pages 2, 3, and 5 were hollowed out, leaving a polished surface with a raised rim around it. On this surface a thin layer of wax was spread, in which the letters were made with a stylus; the writing could be easily read because the wood, which was of a light color, showed through wherever a scratch was made in the wax coating.
Two pages facing each other, 2 and 3, were devoted to the receipt. Page 4, as shown in Fig. 275, was not hollowed out but was divided into two parts by a broad, flat groove running across the middle. When the document was ready to be sealed, the first two leaves were brought together and tied by a thread which passed around the middle, the ends meeting in the groove on page 4. In this groove at convenient distances melted wax was then dropped, on which the witnesses, ordinarily seven in number, impressed their seals. The names of the witnesses were written with pen and ink in a line with the seals, parallel with the sides of the page, sometimes at the right, as in Fig. 275, sometimes divided, the first name and the gens name being at the left of the seal, the cognomen at the right.
This arrangement made it impossible to consult the receipt without cutting the thread or disturbing the seals of the witnesses. To meet the difficulty a memorandum, which was practically a duplicate receipt, was placed on page 5; this could be read at any time.
The difference in form between the receipt, on pages 2 and 3, and the memorandum will be plain from the examples. The receipt, with few exceptions, is simply a record of an oral acknowledgment in the presence of witnesses that a sum of money was received, accepti latio. In nearly all the tablets this acknowledgment and the names of the witnesses, on page 4, are in the same handwriting, which must have been either that of Jucundus himself or of his secretary. It did not matter who wrote the receipt; in case of a dispute the seals of the witnesses would alone be sufficient to prove its genuineness. The memorandum, however, was ordinarily in a different hand, either that of the person who gave the receipt, or of some one authorized to write for him. As it was not under the seals of witnesses, the handwriting might become a matter of importance if any question should arise in regard to the document.
The entire tablet, with its receipt, memorandum, and names and seals of witnesses was called perscriptio, ‘entry of account.’ This word appears ordinarily on the edge of the tablet, with the name of the person who gave the receipt in the genitive case.
Nearly all the tablets record transactions connected with auction sales, the person whose effects were thus disposed of giving Jucundus a receipt in full for the proceeds of the sale less a commission, mercede minus. A few contain receipts for rent which Jucundus paid for the use of property belonging to the city—a fullery (p. 394), the rent of which altogether amounted to 1652 sesterces, about $75; a pasture, for the use of which he paid 2675 sesterces, about $130; and a piece of arable land, fundus, on which he paid 6000 sesterces, about $300, in rents.
We present an example of both classes of receipts. The first, which we may call Tablet A, was given by a lady, Umbricia Januaria, for the proceeds of an auction sale; it is dated December 12, A.D. 56. The other, Tablet B, is the receipt for the rent of public pasture land and belongs to the year 59 A.D.
TABLET A
Title
Perscriptio Umbriciae Januariae, ‘Entry of account of Umbricia Januaria.’
Receipt.
HS n. CC|ↃↃ ∞ XXXVIIII, quae pecunia in stipulatum L. Caecili Iucundi venit ob auctionem Umbriciae Ianuariae mercede minus persoluta habere se dixit Umbricia Ianuaria ab L. Caecilio Iucundo.
Act[um] Pompeis pr[idie] id[us] Dec[embres] L. Duvio, P. Clodio cos.
‘Umbricia Januaria declared that she had received from L. Caecilius Jucundus 11,039 sesterces, which sum came into the hands of L. Caecilius Jucundus by agreement as the proceeds of an auction sale for Umbricia Januaria, the commission due him having been deducted.
‘Done at Pompeii on the twelfth day of December, in the consulship of Lucius Duvius and Publius Clodius.’
Names of the Witnesses. Page 4
The seals of the witnesses, nine in number, appear in the groove at the middle of the page. The names are in the genitive case, as if dependent on sigillum, ‘seal.’
Q. Appulei Severi.
M. Lucreti Leri.
Ti. Iuli Abascanti.
M. Iuli Crescentis.
M. Terenti Primi.
M. Epidi Hymenaei.
Q. Grani Lesbi.
T. Vesoni Le....
D. Volci Thalli.
‘Seal of Quintus Appuleius Severus, Marcus Lucretius Lerus, Tiberius Julius Abascantus, M. Julius Crescens, M. Terentius Primus, M. Epidius Hymenaeus, Q. Granius Lesbus, Titus Vesonius Le..., D. Volcius Thallus.’
Memorandum. Page 5
L. Duvio Avito, P. Clodio Thrasea cos., pr. id. Decembr. D. Volcius Thallus scripsi rogatu Umbriciae Ianuariae eam accepisse ab L. Caecilio Iucundo HS n. XI xxxix ex auctione eius mercede minus ex interrogatione facta tabellarum [signatarum]. Act. Pompeis.
‘On December 12, in the consulship of Lucius Duvius Avitus and Publius Clodius Thrasea, I, Decimus Volcius Thallus, having examined the tablets put under seal, at the request of Umbricia Januaria declared in writing that she had received from L. Caecilius Jucundus 11,039 sesterces as the proceeds of an auction sale after deducting his commission. Done at Pompeii.’
Tablet A gives the ordinary form of the receipt and the memorandum. There are occasional variations. A few tablets have only two leaves and four pages. In such cases, the leaves are tied and sealed in the same way as the first two of the triptych, but only half of the fourth page is left for the signatures of the witnesses; the memorandum is written on the other half with pen and ink, and so appears on the outside of the tablet.
In two of the older tablets, dated 27 and 54 A.D., the memorandum, as the receipt, is a record of an oral acknowledgment; it may be that this was the proper legal form in use to the end of the reign of Claudius. In a few of the later examples, as Tablet B, the receipt as well as the memorandum has the form of a voucher in the handwriting of the person who receives the money, or his agent.
TABLET B
Receipt. Pages 2 and 3
L. Veranio Hupsaeo, L. Albucio Iusto duumviris iure dic[undo] XIIII K[alendas] Iulias Privatus coloniae Pompeian[orum] ser[vus] scripsi me accepisse ab L. Caecilio Iucundo sestertios mille sescentos septuaginta quinque nummos, et accepi ante hanc diem, quae dies fuit VIII idus Iunias, sester[tios] mille nummos, ob vectigal publicum pasqua [for pasquorum].
Act[um] Pom[peis] Cn. Fonteio C. Vipstano cos.
‘On June 18, in the duumvirate of L. Veranius Hypsaeus and L. Albucius Justus, I, Privatus, slave of the colony of Pompeii, declared in writing that I had received from L. Caecilius Jucundus 1675 sesterces, and previous to this day, on June 6, I received 1000 sesterces, as rent for the public pasture.
‘Done at Pompeii in the consulship of Gnaeus Fonteius and Gaius Vipstanus.’
Names of the Witnesses. Page 4
In the groove in the middle of the page are four seals. As the receipt was given for the city, the witnesses were the two duumvirs and the slave Privatus, who received the money. The name of Privatus appears twice with seal, under that of each duumvir. In antiquity municipalities, as well as individuals, owned slaves.
L. Verani Hypsaei
Privati, c. c. V. C. ser. (for colonorum coloniae Veneriae Corneliae servi)
L. Albuci Iusti
Privati, c. c. V. C. se.
Chirographum Privati c. c. V. C. ser.
‘Seal of Lucius Veranius Hypsaeus; Privatus, slave of the citizens of the colony of Pompeii; L. Albucius Iustus; Privatus, slave of the citizens of the colony of Pompeii.
‘Autograph of Privatus, slave of the citizens of the colony of Pompeii.’
Memorandum. Page 5
L. Veranio Hupsaeo L. Albucio Iusto d[uumviris] i[ure] d[icundo] XIV K. Iul. Privatus c. c. V. C. ser. scripsi me accepisse ab L. Caecilio Iucundo HS ∞ DCLXXV et accepi ante hanc diem VIII idus Iunias HS ∞ nummos ob vectigal publicum pasquorum.
Act. Pom. C. Fonteio C. Vips. cos.
The language of the memorandum is so nearly identical with that of the receipt that it is unnecessary to add a translation.
A considerable number of the amphorae found at Pompeii bear inscriptions, generally written with a pen in black ink, but sometimes painted with a brush in red or white. Most of them contained wine. The percentage of Greek inscriptions is large, an evidence of the strength of the Greek population in the region about the city.
The wine underwent fermentation in large round vats of baked clay, dolia, which stood in the wine cellar of the villa, cella vinaria, or in a court (p. 364); from these the amphorae were filled. The vats containing the common wines were ordinarily emptied before the next vintage, when they were needed for the new wine, but the better sorts were allowed to remain in the dolia for a longer time. The wine of one Pompeian amphora was left in the vat till after the harvest of the second year: C. Pomponio C. Anicio cos., ex fund[o] Badiano, diff[usum] id. Aug., bimum,—‘Consulship of Gaius Pomponius and Gaius Anicius. From the Badian estate. Poured (into amphorae) August 13. Two years old.’ In what year Pomponius and Anicius were consuls we do not know.
The earliest amphora of which the date is certain was filled in 25 A.D.: [Cosso Len]tulo M. Asinio cos. fund. The place from which it came, however, is not so easily determined, since fund. may refer to the town of Fundi, or stand for fundus, ‘estate,’ the name that followed having been obliterated. The names of two such estates were lately recovered from amphorae in the house of the Vettii, fundus Satrianus and fundus Asinianus.
In addition to the product of Italian vineyards the Pompeians used also imported wines from the coast of Asia Minor and the islands near by. One dealer, M. Fabius Euporus, kept wine from Cnidus, Cnidium. Wine from the island of Cos is frequently mentioned, as in this inscription: Coum vet[us] P. Appulei Bassi,—‘Old Coan of Publius Appuleius Bassus.’
Different kinds of wine were sometimes designated by characteristic names. A certain Greek, M. Pomponius Teupon, produced a brand which he called ‘Frenzy Wine’ (Λύττιος), as if so strong that it would make the drinker frantic. Another Greek, Timarchus, named one of his wines ‘White Drink,’ Λευκουνάριον.
An amphora in the house of the Vettii was labelled Gustaticium, ‘Breakfast Drink’; it no doubt contained mulsum, a kind of mead made by mixing honey with wine, which the ancients drank with the first meal of the day. The word mulsum occurs on another amphora discovered previously.
Fruits and other edibles of all kinds were kept in amphorae. On one was written: Oliva alba dulce (for olivae albae dulces) P. C. E.,—‘White sweet olives of P. C. E.’; the name cannot be determined from the initials. On other amphorae the words for bean meal (lomentum), honey, and lentils appear, the last being designated by the Greek word.
A large number of small jars contained the fish sauces,—garum, liquamen, and muria,—of which the ancients were so fond; reference has already been made to Umbricius Scaurus (p. 15), who seems to have had several establishments for the making of the sauces, conducted by slaves, freedmen, and perhaps by members of his family.
The best quality of garum, which was probably a thick preparation, a kind of fish jelly, was designated by the letters g. f., for garum—flos, ‘garum blossom,’ as in the following inscription: g[arum]—f[los] scombr[i] Scauri ab Eutyche Scauri,—‘Scaurus’s tunny jelly, blossom brand, put up by Eutyches, slave of Scaurus.’ We frequently find liquamen optimum, ‘best liquamen.’
The muria was apparently a fish pickle, certain parts of the fish, or certain varieties, being preserved in brine. According to Pliny the Elder some fish sauces were prepared in a special way, to be used by the Jews on fast days; two of these, as already noted, appear in the inscriptions upon Pompeian jars, garum castum and muria casta (p. 18).
In these inscriptions upon jars of various sizes the name of the proprietor is sometimes given, in the genitive case, as M. Caesi Celeris,—‘Of M. Caesius Celer.’ The name of the man to whom the consignment is made is put in the dative, as Albucio Celso.
The name of the consignor sometimes follows that of the consignee, as liquamen optimum A. Virnio Modesto ab Agathopode,—‘Best liquamen, for Aulus Virnius Modestus, from Agathopus.’
An inscription similar to that just mentioned, on an amphora found in the house of Caecilius Jucundus, illustrates the extent to which family pride might assert itself in the naming of children: Caecilio Iucundo ab Sexsto Metello,—‘To Caecilius Jucundus from Sextus Metellus.’ The sender and the recipient were both sons of Lucius Caecilius Jucundus. According to common usage, one of the sons would have received the name Lucius Caecilius Jucundus, after the father; while the other would have been called Lucius Caecilius, with a cognomen derived perhaps from the name of the mother. But the prosperous Pompeian wished to suggest a relationship with the distinguished family of the Caecilii Metelli, so he named one son Sextus Caecilius Jucundus Metellus, and the other Quintus Caecilius Jucundus, the name Quintus being common in the family of the Caecilii Metelli. The names of the two sons are found together in an election notice: Q. S. Caecili Iucundi,—‘Quintus and Sextus Caecilius Jucundus.’
Besides the names of the makers, inscriptions relating to weight and ownership are found on the cups and other objects of the Boscoreale treasure. Thus on the under side of the Alexandria patera (Fig. 187, and p. 380) we find the following record, the letters of which are outlined with points: Phi[ala] et emb[lema] p[endentia] p[ondo libras] II, uncias X, scrupula VI. Phi[ala] p[endens] p[ondo libras] II, uncias II, semunciam; emb[lema] p[endens] p[ondo] uncias VII, semunciam, ‘The bowl and the relief medallion’ together ‘weigh 2 pounds, 10 ounces, and 6 scruples. The bowl weighs 2 pounds, 2½ ounces; the relief medallion weighs 7½ ounces.’ In giving the items separately no account was taken of the scruples. Reckoning the Roman pound as 327.453 grammes, the weight of the patera with its relief was 934.608 grammes, or 2.504 Troy pounds. This differs from the present weight by less than a gramme.
Occasionally a name in the genitive case is found with the record of weight, written with the same kind of letters; in such cases it is probably safe to assume that the name is that of the original owner. On the under side of one of the pair of cups ornamented with skeletons (Fig. 217) is the inscription: GAVIAE P·II·S𐆐IIII; a later hand, writing with a fine point, added VAS II in the space after GAVIAE, as if to supply an obvious omission, so that the inscription in full would read, Gaviae. Vas[a] II [pendentia] p[ondo libras] II, uncias VIII, [scrupula] IV, ‘The property of Gavia. The two cups weigh 2 pounds, 8 ounces, and 4 scruples’ (2.351 Troy pounds).
In some instances the name of a later owner has been scratched on the surface with a pointed tool. The name of a woman, Maxima, written in full or in abbreviation, appears on forty-five of the pieces in the Louvre. We may safely accept the conclusion of De Villefosse, that she is probably the one who made the collection, obtaining her specimens from different sources, and that to her the Boscoreale treasure belonged at the time of the eruption.
Besides the seals which were used in signing documents the Romans had stamps, signacula, which they impressed upon various articles as a means of identification or as an advertisement. Impressions of such stamps are found upon bricks and other objects of clay, and in one or two instances upon loaves of bread. Several charred loaves in the Naples Museum have the stamp: [C]eleris Q. Grani Veri ser.,—‘(Made by) Celer, slave of Quintus Granius Verus.’
The names upon stamps appear regularly in the genitive case, as N. Popidi Prisci, spelled backward on the stamp, so that the letters appear in the right order in the impression. Since the time of Fiorelli many houses have been named from the stamps found in them; in the house of the Vettii, for example, two stamps were found with the names of Aulus Vettius Restitutus and Aulus Vettius Conviva.
CONCLUSION
CHAPTER LIX
SIGNIFICANCE OF THE POMPEIAN CULTURE
The ideals of a nation—the true index of its culture—find expression alike in its laws, its literature, its art, and the environment of daily life. They are a common heritage, which one generation passes on to another with its own increment of change, and their influence extends as far as that of the people whose spirit is manifested in them. Thus it happens that the conditions of culture found in a single city, unless that city, as Athens, had an independent development as a state, are not isolated but are determined in the main by general movements and tendencies, and are reproduced, with local differences, in all places having the same racial and political connections. The local element was more pronounced and more characteristic in ancient than in modern cities; yet, unless the surroundings were exceptionably favorable, we should not be warranted in expecting to find in a small city an isolated development of special significance in art or taste. Pompeii forms no exception to the rule.
The situation of Pompeii was unfavorable to the growth of an indigenous culture. Founded by Samnites, a primitive folk, it lay in the overlapping edges of two great zones of influence, Greek and Roman. It was a small town, which never rose to the dignity even of a provincial capital. It was a seaport, which through marine traffic kept in touch with other cities, especially those of the East, from which fashions of art, religion, and life travelled easily westward. The political institutions of the Pompeians were at first those which they shared in common with the Samnite and Oscan cities of the mountains and the Campanian plain, later those imposed upon them by the forceful and levelling administration of Rome. The literature which they read, as we learn from quotations scratched upon the walls, consisted of the Greek and Roman writers of their own or previous periods; not a single line of an Oscan drama or poem has been found. Their art was a reproduction of designs and masterpieces produced elsewhere,—at first under Hellenistic, later under Roman influence,—on a scale commensurate with the limited resources of the place. Finally the countless appliances of everyday life, from the fixed furniture of the atrium to articles of toilet, were not rare and costly objects such as were seen in the wealthy homes of Rome or Alexandria, but those of the commoner sort everywhere in use. Any one of fifty cities might have been overwhelmed in the place of Pompeii, and the results, so far as our knowledge of the ancient culture in its larger aspects is concerned, would not have been essentially different.
The representative rather than exceptional character of the remains at Pompeii makes them either of less or of greater value, according as we look at them from different points of view. If we are seeking for the most perfect examples of ancient art, for masterpieces of the famous artists, we do not find them. Many of the Pompeian paintings appeal to modern taste; yet it would be as unfair to judge of the merits of ancient painting from the specimens which are worked into the decorative designs of Pompeian walls as it would be to base an estimate of the value of modern art upon chromos and wall papers. For the noblest creations of ancient art in any field we must look not to provincial towns, but to the great centres of population and of political administration, where genius found encouragement, inspiration, and adequate means. No large city, fortunately for its inhabitants, was visited by such a disaster as that which befell the Campanian town; and the wealth of artistic types at Pompeii bears witness to the universality of art in the Greco-Roman world.
Since these remains are so broadly typical, they are invaluable for the interpretation of the civilization of which they formed a part. They shed light on countless passages of Greek and Roman writers. Literature, however, ordinarily records only that which is exceptional or striking, while here we find the surroundings of life as a whole, the humblest details being presented to the eye.
Pompeii, as no other source outside the pages of classical authors, helps us to understand the ancient man.
BIBLIOGRAPHICAL APPENDIX4
CHAPTER I. THE SITUATION OF POMPEII
Physical geography of Campania, Vesuvius: Nissen, Italische Landeskunde, vol. I (Berlin, 1883), pp. 263-272; Phillips, Vesuvius (Oxford, 1869); G. vom Rath, Der Vesuv (Berlin, 1873); Palmieri, Il Vesuvio e la sua storia (Milan, 1880); Judd, Volcanoes (International Scientific Series, New York, 1831); Lobley, Mount Vesuvius—A Descriptive, Historical, and Geological Account of the Volcano and its Surroundings (London, 1889); Ruggiero, Della eruzione del Vesuvio nell’ anno LXXIX, in the commemorative volume published under the title Pompei e la regione sotterrata dal Vesuvio nell’ anno LXXIX (Naples, 1879), pp. 15-32.
Pompeii as a seaport [p. 3]: Strab. Geog. V. IV. 8 (p. 247).
The seacoast and the Sarno in antiquity [p. 4]: Ruggiero, op. cit., pp. 5-14; Mau, Dell’ antico lido del mare, Bull. dell’ Inst., 1880, pp. 89-92; F. von Duhn, Der Hafen von Pompei, Rhein. Mus., vol. 36 (1881), pp. 127-130, 632-634; Mau, Der Hafen von Pompeji, Rhein. Mus., vol. 36. pp. 326-328, and vol. 37 (1882), pp. 319-320.
CHAPTER II. POMPEII BEFORE THE ERUPTION
The founding of Pompeii [p. 8]: the question of the origin of the city is closely connected with that of the system of streets, for which see references to Chap. V, p. 517.
Origin of the name [p. 8]: cf. F. von Duhn, Verhandlung der 34ten Philologen-Versammlung (1880), p. 154; for pompe = quinque, cf. Buck, Der Vocalismus der Oskischen Sprache (Leipzig, 1892), pp. 118-119. The derivation of Pompeii from πομπή (πέμπειν) is assumed by Nissen, Pompejanische Studien (Leipzig, 1877), p. 580; cf. also Sogliano, Rendiconto della Accademia di Archeologia, Nuova Serie, Naples, vol. 15 (1901), p. 115.
The expedition of P. Cornelius [p. 9]: Liv. IX. XXXVIII. 2-3.
The siege of Sulla [p. 10]: Appian. Bel. Civ., I. V. 39, VI. 50; Oros. V. XVIII. 22; Vell. Pater. II. XVI. 2.
The Pompeians and P. Sulla [p. 10]: Cic. Pro P. Sulla, XXI.
Excavations near the Sarno canal [p. 10]: Not. d. scavi, 1880, pp. 494-498; 1881, pp. 25-29, 64-66. For other evidence relating to the suburbs, see Nissen, Pompejanische Studien, p. 379; Mau, Röm. Mitth., vol. 4 (1889), pp. 299-300, 344.
Venus Pompeiana [p. 12]: Museo Borb., vol. 8, pl. 34; Helbig, Wandgemälde der vom Vesuv verschütteten Städte Campaniens (Leipzig, 1868), no. 295; Wissowa, De Veneris simulacris Romanis (Breslau, 1882), pp. 15-21; cf. also Rossbach, Vier Pompejanischen Wandbilder, Jahrb. des Inst. vol. 8 (1893), pp. 57-59 (no. 4).
Name of the Roman colony [p. 12]: known from inscriptions, as that of Holconius Rufus and Egnatius Postumus [p. 85], and the tablets of Caecilius Jucundus, as 3340, CXLIII. in C. I. L. IV. Suppl. 1; with the latter we may compare the abbreviation after the name of Privatus [p. 504].
Civic administration [p. 12]: Marquardt, Römische Staatsverwaltung, vol. 1 (Edit. 2, Leipzig, 1881), pp. 132-215: C. I. L. X. pp. 90-93, IV. pp. 249-255; Willems, Les élections municipales à Pompéi (Paris, 1886), and review of this book by Mau, Röm. Mitth., vol. 4 (1889), pp. 298-302.
Duumvirates of Caligula [p. 14]: C. I. L. X. 901, 902, 904.
Lex Petronia [p. 14]: C. I. L. X. 858 [cf. p. 219]; Marquardt, op. cit. vol. 1, p. 170.
Officials of the Pagus Augustus Felix [p. 14]: C. I. L. X. 814, 853, 924, 944, 1027, 1028, 1030, 1042, 1055, 1074; Röm. Mitth., vol. 4 (1889), p. 344.
Pompeian wine [p. 14]: Plin. N. H. XIV. II. 35, III. 38, VI. 70; Columella, De re rust. III. II. 27. For the forms of the amphorae, see the plate at the end of C. I. L. IV. following the map; for the inscriptions, C. I. L. IV. pp. 171-188 and Suppl. 2.
Pompeian cabbage and onions [p. 15]: Plin. N. H. XIX. VIII. 140; Columella, De re rust. X. 135, XII. X. 1.
Volcanic products [p. 15]: pumice stone, Vitr. II. VI. 2; oil mills, Cato, De agri cultura, XXII. 3, 4, CXXXV. 2.
Cicero’s Pompeianum [p. 16]: Cic. Acad. pr. II. III. 9, XXV. 80; ad Att. I. XX. 1, V. II. 1, X. XV. 1, XVI. 4, XIII. VIII; ad Fam. VII. III. 1, IV, XII. XX; ad Quint. fr. II. XIV. 1; Plut. Cic. VIII. See also Schmidt, Cicero’s Villen—Das Pompeianum, Neue Jahrbücher für das Klassische Altertum, vol. 3 (1899), pp. 489-497, and the review by Mau, Röm. Mitth. vol. 15 (1900), pp. 129-130.
Death of Claudius’s Drusus at Pompeii [p. 16]: Suet. Div. Claud. XXVII.
Inscriptions [p. 16]: C. I. L. X. 874, 875; for the Greek inscriptions discovered at Pompeii, cf. C. I. L. IV, Index, p. 264; Kaibel, Inscriptiones Graecae Siciliae et Italiae, pp. 188-189; Dilthey, Dipinti Pompeiani accompagnati d’ epigrammi greci, Ann. dell’ Inst. vol. 48 (1876), pp. 294-314.
Population of Pompeii [p. 16]: Fiorelli, Gli Scavi di Pompei dal 1861 al 1872, App. 3, pp. 12-14; Nissen, Pomp. Studien, pp. 374-379.
Evidence regarding the existence of a Jewish colony at Pompeii [pp. 17-18]—inscriptions cited: C. I. L. IV, 1507, 2569, 2609, 2611, IV. Suppl. 4976, 5244. Painting with the judgment of Solomon: Lumbroso, Sul dipinto pompeiano in cui si è ravvisato il giudizio di Salomone, Memorie della Acc. dei Lincei, Serie 3, vol. II (1883), pp. 303-305; Samter, Archäologischer Anzeiger, Beiblatt zum Jahr. des Inst., vol. 13 (1898), pp. 49-50. Supposed Christian inscription and the literature relating to it: de Rossi, Una memoria dei Cristiani in Pompei, Bulletino di Archeologia Cristiana, vol. 2 (1864), pp. 69-72, and Dei Giudei Libertini e dei Cristiani in Pompei, ibid. pp. 92-93; C. I. L. IV. 679, and Suppl. p. 461.
CHAPTER III. THE DESTRUCTION OF POMPEII
The particulars of the eruption are treated at length in the works on Vesuvius cited in the note to Chap. I.
Vesuvius before the eruption [p. 19]: Strabo, V. VIII. (p. 247); Diod. Sic. IV. XXI. 5; Vitr. II. VI. 2, 3; Mart. Epigr. IV. XLIV; Palmieri, Del Vesuvio dei tempi di Spartaco e di Strabone e del precipuo cangiamento avvenuto nell’ anno 79 dell’ era volgare, Pompei e la regione sotterrate dal Vesuvio nell’ anno LXXIX, pp. 91-94; see also Lobley, Mount Vesuvius, pp. 95-98 and pl. 8. Representation of Vesuvius in a Pompeian wall painting (discovered in 1879): Not. d. scavi, 1879, p. 285; reproduction, Not. d. scavi, 1880, pl. VII., with a geological analysis by Palmieri, pp. 233-234; reproduced also by de Marchi, Il culto privato di Roma antica, vol. 1 (Milan, 1896), pl. 5 (p. 100).
The earthquake of 63 A.D. [p. 19]: Tac. Ann. XV. XXII (erroneously assigned to 62); Sen. N. Q. VI. I. 1-15, XXVI. 5, XXVII. 1; cf. also the dedicatory inscription of the temple of Isis [p. 170].
Date of the eruption [p. 19]: Mau, Del mese e del giorno dell’ eruzione, Bull. dell’ Inst. 1880, pp. 92-96; Not. d. scavi, 1889, pp. 407-410; Röm. Mitth., vol. 5 (1890), pp. 282-283.
Ancient sources of our knowledge of the eruption [pp. 19-20]: Plin. Ep. VI. XVI, XX; Dio Cass. LXVI. XXI-XXIII; incidental references, M. Aurel. Anton. IV. XLVIII; Euseb. Chron. ad an. Abr. 2095; Plut. De sera numinis vindicta, XXII. p. 566 E, De Pythiae oraculis, IX. p. 398 E; Tertullian, Apologet. XL, De pallio, II.
Covering of Herculaneum [p. 21]; Ruggiero, Della eruzione del Vesuvio nell’ anno LXXIX (see note to Chap. I.), pp. 21-22.
Excavations at Stabiae [p. 21]: see note to Chap. IV.
Commission sent by Titus [p. 23]: Suet. Div. Tit. 8.
Excavations at Pompeii: Fiorelli, Pompeianarum antiquitatum historia (3 vols., Naples, 1860-1864); Fiorelli, Gli scavi di Pompei dal 1861 al 1872 (Naples, 1873); C. I. L. X. pp. 93-94. Periodical reports of the excavations: Bullettino Archeologico Napolitano pubblicato da Avellino (vols. 1-6, Naples, 1842-1848). Bullettino Archeologico Napolitano, Nuova Serie, edited by Garrucci and Minervini (vols. 1-8, Naples, 1853-1863); Bullettino Archeologico Italiano, edited by Minervini (1861-1862); Giornale degli scavi di Pompei pubblicato da Giuseppe Fiorelli (Naples, 1861-1865, incomplete); Giornale degli scavi di Pompei, Nuova Serie, pubblicata dagli alunni della Scuola archeologica (vols. 1-4, Naples, 1868-1879); since 1876, in the Notizie degli scavi di antichità. The reports on the excavations by Professor Mau were published in the Bullettino dell’ Instituto from 1873 to 1885; since 1885 they have appeared in the Römische Mittheilungen.
Excavations at Herculaneum: Ruggiero, Storia degli scavi di Ercolano (Naples, 1885).
Excavations at Stabiae: Ruggiero, Degli scavi di Stabia dal MDCCXLIX al MDCCLXXXII (Naples, 1881).
Inscriptions discovered by Fontana [p. 25]: C. I. L. X. 928, 952.
Time required to complete the excavations [p. 29]: Fiorelli, Gli scavi di Pompei dal 1861 al 1872, App. p. 10.
CHAPTER V. A BIRD’S-EYE VIEW
The system of streets [p. 32]: Nissen, Das Templum (Berlin, 1869), pp. 63-81; Nissen, Pomp. Studien, pp. 572-593; Fiorelli, Gli scavi di Pompei dal 1861 al 1872, App. pp. 10-12; von Bezold, Osservazioni sulla limitazione di Pompei, Bull. dell’ Inst. 1880, pp. 151-159; Mau, Osservazioni sulla rete stradale di Pompei, Bull. dell’ Inst. 1881, pp. 108-112.
The regions and insulae [p. 34]: Fiorelli, Sulle regioni Pompeiane e della loro antica distribuzione (Naples, 1858); Fiorelli, Descrizione di Pompei (Naples, 1875), pp. 24-25; for the names given to houses, Fiorelli, Gli scavi di Pompei dal 1861 al 1872, App. pp. 18-20. Meaning of the word Insula: Richter, Insula, Hermes, vol. 20 (1885), pp. 91-100.
CHAPTER VI. MATERIALS, CONSTRUCTION, ARCHITECTURAL PERIODS
Materials, construction, periods, systems of measurement: Nissen, Pomp. Studien, pp. 1-97; Fiorelli, Gli scavi di Pompei dal 1861 al 1872, pp. 78-86; Ruggiero, Delia eruzione del Vesuvio nell’ anno LXXIX (see note to Chap. I), pp. 5-8; Mau, Pompejanische Beiträge (Berlin, 1879), pp. 1-41, and Röm. Mitth., vol. 4 (1889), pp. 294-298.
Mason’s marks: C. I. L. IV. pp. 166-167; Richter, Ueber antike Steinmetz-zeichen (Berlin, 1883), pp. 13-22, summarized by Mau, Röm. Mitth., vol. 4 (1899), pp. 292-294; Mau, Segni di scarpellino di Pompei, Röm. Mitth., vol. 10 (1895), pp. 47-51. Marriott, Facts about Pompeii (London, 1895), pp. 62-85, reviewed by Mau, Röm. Mitth., vol. 10 (1895), pp. 222-224. A complete collection of mason’s marks will appear in C. I. L. IV. suppl. 2.
CHAPTER VII. THE FORUM
Excavation (1813-1818), plan, remains: Fiorelli, Pomp. ant. hist., vol. 1, pt. 3, pp. 135-212, vol. 3, pp. 1-17; Gell, Pompeiana (Edit. 2, 2 vols., London, 1832), vol. 1, pp. 27-38; Mazois, Les ruines de Pompéi (four parts, cited as vols.; vols. 1 and 2, 1824; vols. 3 and 4, continued by Gau, 1828-1829; Paris), vol. 3, pp. 28-36, plates 13bis, 14; Nissen, Pomp. Studien, pp. 313-319, 344-374.
Inscriptions relating to the Forum or found in it: C. I. L. X. 787-794, IV. pp. 4, 41, 125-127; inscription of A. Clodius Flaccus [p. 57], X. 1074.
Statues of the Forum [pp. 46-48]: Mau, Die Statuen des Forums von Pompeji, Röm. Mitth., vol. 11 (1896), pp. 150-156.
History of the colonnade [p. 50]: Mau, Il portico del Foro di Pompei, Röm. Mitth., vol. 6 (1891), pp. 168-176.
Paintings illustrating the life of the Forum [p. 55]: Le pitture antiche di Ercolano e contorni (5 vols., Naples, 1757-1779), pp. 213, 221, 227; Helbig, Wandgemälde, nos. 1489-1500; particularly Jahn, Ueber Darstellungen des Handwerks und Handelsverkehrs auf antiken Wandgemälden, Abhandlungen der sächsischen Gesellschaft der Wissenschaften, philologisch.-hist. Classe, vol. 5 (1870), pp. 263-318 and pl. 1-3; reproduced also by Baumeister, Denkmäler des klassischen Altertums (3 vols., Munich, 1884-1888), vol. III. Fig. 1653; Schreiber, Atlas of Classical Antiquities (trans. by Anderson; London, 1895), pl. 87, 88, 89.
Shape of a typical forum contrasted with that of the agora [p. 57]: Vitr. V. I. 1-3.
Admission fee, [p. 57]: Friedlaender in Marquardt, Röm. Staatsverwaltung (Edit. 2), vol. 3, pp. 492-493.
Slaves not permitted to witness the games [p. 58]: Cic. De harus. resp. XII. 26.
CHAPTER VIII. THE BUILDINGS AROUND THE FORUM—THE TEMPLE OF JUPITER
Of the Capitolium in Roman colonies generally: Kuhfeldt, De capitoliis imperii Romani (Berlin, 1882); Castan, Les capitaux provinciaux du monde romain (Besançon, 1886); de Rossi and Gatti, I campidogli nelle colonie e nelle altre città del mondo romano, Bull. com., vol. 15 (1887), pp. 66-68; Wissowa, Capitolium (2), Pauly-Wissowa Real-Encyclopädie, vol. 3, pp. 1538-1540.
The temple of Jupiter (excavated in 1816-1818, 1820): Fiorelli, Pomp. ant. hist., vol. 1, pt. 3, pp. 185-200, vol. 2, pp. 16-17, vol. 3, p. 13; Mazois, Les ruines de Pompéi, vol. 3, pp. 48-50, pl. 30-36; Nissen, Pomp. Studien, pp. 320-327; Mau, Pomp. Beiträge, pp. 200-209; Weichardt, Pompeji vor der Zerstörung (Leipzig, 1897), pp. 61-78.
Variation of the plan from the Etruscan, union of Greek and Etruscan elements [p. 63]: cf. Vitr. IV. VII. 1, VIII. 5.
Relief in the house of Caecilius Jucundus [p. 64]: Mau, Röm. Mitth., vol. 15 (1900), pp. 115-116.
Decoration of the cella [p. 65]: Mau, Geschichte der decorativen Wandmalerei in Pompeji (Berlin, 1882), pp. 61-62, 248.
Inscriptions found in the cella [p. 66]: C. I. L. X. 796-797.
The Capitolium and the temple of Zeus Milichius [p. 66]: Mau, Röm. Mitth., vol. 11 (1896), pp. 141-149.
Temples of Jupiter, Juno, and Minerva in Etruscan and Roman cities [p. 66]: Serv. Com. in Verg. ad Aen. I. 422; Vitr. I. VII. 1.
Capitals of the Ionic columns of the cella, and of the Corinthian columns of the portico [pp. 63-67]: Mazois, Les ruines de Pompéi, vol. 3, pl. 35. The shape of the acanthus leaves is not that characteristic of the pre-Roman period. It is therefore most probable that the temple was built, or at any rate was completed, in the early years of the colony.
The vaults in the podium [p. 67]: Not. d. scavi, 1900, pp. 341-344.
CHAPTER IX. THE BASILICA
Excavation (1813-1816): Fiorelli, Pomp. ant. hist., vol. 1, pt. 2, p. 86, pt. 3, pp. 111-179 passim; vol. 2, p. 13.
Inscriptions: C. I. L. X. 805-807, IV. pp. 113-125.
Decoration: Mau, Geschichte der dec. Wandmalerei, pp. 11-17.
Reconstruction: Mau, Röm. Mitth., vol. 3 (1888), pp. 14-46, vol. 6 (1891), pp. 67-71, vol. 8 (1893), pp. 166-171; cf. also Wolters, Das Chalcidicum der Pompejanischen Basilica, Röm. Mitth., vol. 3 (1888), pp. 47-60. Equal height of main room and corridor was first assumed by Mazois (Les ruines de Pompéi, vol. 3, pls. 17, 18), afterward by Mau (Pomp. Beiträge, pp. 156-199). A clerestory was added by Canina (Architettura Antica, vol. 3, pl. 93), and by Lange (Haus und Halle, Leipzig, 1885, pp. 351-372). Schoene (Nissen, Pomp. Studien, pp. 198-201) assumes an equal height for the large columns and the half-columns, with a gallery above the corridor.
The Basilica Porcia [p. 70]: Huelsen, Röm. Mitth., vol. 8 (1893), pp. 84, 91. Other references on the Roman basilicas: Huelsen, Nomenclator topographicus (Kiepert and Huelsen, Formae urbis Romae antiquae, Berlin, 1896), pp. 13-14.
The Basilica at Fano [p. 71]: Vitr. V. I. 6-10; Prestel, Des M. Vitruvius Pollio, Basilica zu Fanum Fortunae (Strassburg, 1900). Reconstruction: Viollet-le-Duc, Entretiens sur l’architecture (2 vols. Paris, 1863, 1872), vol. 1, pp. 150-157, and Atlas, pl. 8-10; translation of vol. 1 by van Brunt (under the title Discourses on Architecture, Boston, 1873), pp. 144-149 and pls. 8-10.
Literature relating to the origin of the Christian basilica: Dehio and von Bezold, Die kirchliche Baukunst des Abendlandes, vol. 1 (Stuttgart, 1892), pp. 62-63, and Lowrie, Monuments of the Early Church (New York, 1901), pp. 420-421; cf. also Holtzinger, Die altchristliche und byzantinische Baukunst (Stuttgart, 1899; in Durm’s Handbuch der Architektur), pp. 19-25; Kraus, Realencyclopädie der christl. Alterthümer (2 vols., Freiburg, 1882-1886), vol. I. under Basilica; Lange, Haus und Halle (Leipzig, 1885), pp. 270-326; F. Witting, Die Anfänge christlicher Architektur (Strassburg, 1902).
CHAPTER X. THE TEMPLE OF APOLLO
Excavation (1817-1818), remains, restoration: Fiorelli, Pomp. ant. hist., vol. 1, pt. 3, pp. 191, 203-210, vol. 2, pp. 9, 69, vol. 3, pp. 9-16; Gell, Pompeiana (Edit. 3, by Gell and Gandy, London, 1852), pl. 53-54; Mazois, Les ruines de Pompéi, vol. 4, pls. 16-23; Nissen, Pomp. Studien, pp. 213-232; Mau, Pomp. Beiträge, pp. 93-116; Overbeck-Mau, Pompeji (Pompeji in seinen Gebäuden, Alterthümern und Kunstwerken dargestellt von Johannes Overbeck; vierte im Vereine mit August Mau durchgearbeitete und vermehrte Auflage, Leipzig, 1884), pp. 96-104 and 636-637 (Anm. 41-45); Ivanoff, Architektonische Studien, Heft 2 (Berlin, 1895), pl. 1-3; Weichardt, Pompeji vor der Zerstörung, pp. 35-52.
Inscriptions relating to the temple—Oscan [p. 80]: Mau, Bull. dell’ Inst, 1882, pp. 189-190, 203, 205-207; Buecheler, Rhein. Mus., vol. 37 (1882), p. 643; Zvetaieff, Inscriptiones Italiae inferioris dialecticae (Moscow, 1886), p. 55 (no. 156 a); von Planta, Grammatik der Oskisch-Umbrischen Dialekte (2 vols.; Strassburg, 1892, 1897), vol. 2, p. 500; Conway, Italic Dialects (2 vols., London, 1897), vol. 1. p. 65. Latin [pp. 85-86]: C. I. L. X. 787, 800-804.
Paintings [pp. 84, 87]: Helbig, Wandgemälde, nos. 266, 395, 1306, 1324, 1325, 1544, and Nachträge, pp. 461-462.
Statues found in the court [p. 87]—Venus: Museo Borb., vol. 14, pl. 23. Artemis and Apollo: Museo Borb., vol. 8, pl. 59, 60. Herm in the Naples Museum formerly thought to be Maia: Patroni, La pretesa Maia, erma del Museo Nazionale di Napoli, Röm. Mitth., vol. 15 (1900), pp. 131-132.
The cult of Mercury and Maia [p. 89]: cf. Samter, Altare di Mercurio e Maia, Röm. Mitth., vol. 8 (1893), pp. 222-225.
Augustus as Mercury [p. 90]: Kiessling, Zu Hor. Od. I. 2, in Philologische Untersuchungen (herausgegeben von Kiessling und U. von Wilamowitz-Moellendorff, Berlin), Heft 2 (1881), p. 92. Inscriptions referring to the cult of Mercury and Maia, afterward of Augustus, at Pompeii: C. I. L. X. pp. 109-113. Dendereh inscription (found with a wall painting showing the portrait of an emperor): Duemichen, Baugeschichte des Denderah Tempels (Berlin, 1877), p. 16 and pl. 9; Krall, Wiener Studien, vol. 5 (1883), p. 315, note.
CHAPTER XI. THE BUILDINGS AT THE NORTHWEST CORNER OF THE FORUM—THE TABLE OF STANDARD MEASURES
The table of standard measures [p. 92]: Mancini, La mensa ponderaria di Pompei esistente nel Museo Nazionale di Napoli, Giornale degli scavi di Pompei, Nuova Serie, vol. 2 (1871), pp. 144-161; Nissen, Pomp. Studien, pp. 71-74; Conway, The Italic Dialects, vol. 1, pp. 67-68, vol. 2, pp. 521-523; Zvetaieff, Sylloge inscriptionum Oscarum, pl. 13; C. I. L. X. 793.
Measurements of the cavities by Mr. Bidder: The Academy, April 15, 1895, p. 319.
Other tables of standard measures [p. 93]: at Minturnae, C. I. L. X. 6017; at Tivoli, Not. d. scavi, 1883, pp. 85-86, 172, and Lanciani, Pagan and Christian Rome (Boston, 1892), pp. 40-41; at Selinus, Not. d Scavi. 1884, p. 321; Bregenz, Mitth. der Oesterr. Centralcommission, Neue Folge, vol. 8, p. 99; in Greek lands, Tarbell, A “Mensa Ponderaria” from Assos; American Journal of Archæology, vol. 7 (1891), pp. 440-443, and n. 1 (the Assos table is now in the Boston Museum of Fine Arts); Bacon, Investigations at Assos, Pt. 1 (1902), pp. 71, 73.
CHAPTER XII. THE MACELLUM
Excavation (in 1821-1822), identification, reconstruction: Fiorelli, Pomp. ant. hist., vol. 2, pp. 38-56, vol. 3, pp. 31-32; Gell, Pompeiana (Edit. of 1832), vol. 1, pp. 46-68; Mazois, Les ruines de Pompéi, vol. 3, pp. 59-67, pl. 42-46; Nissen, Pomp. Studien, pp. 275-286; Overbeck-Mau, Pompeji, pp. 120-128; Not. d. scavi, 1898, pp. 333-339.
Other macella [p. 94] in Rome: Huelsen, Nomenclator top. (see note to Chap. IX), p. 44. At Puteoli: Gervasio, Sopra alcune iscrizioni riguardanti il Macello nell’ antica Pozzuoli (Naples, 1852); published also in Memorie della regale Accademia ercolanese di archeologia, vol. 6 (1853), pp. 265-283.
The tholus [p. 94]: Varro, apud Non., p. 448. The coin of Nero referred to is described by Eckhel, Doctrina numorum veterum (Edit. 2, 8 vols., Vienna, 1792-1828), vol. 6, p. 273, and figured by Cohen, Description historique des monnaies frappées sous l’empire romain, vol. 1 (Edit. 2, Paris, 1880), p. 288; and Donaldson, Architectura Numismatica, no. LXXII.
Paintings in the Macellum at Pompeii [pp. 96-98]: Helbig, Wandgemälde, see Topogr. Index, p. 476, under Pantheon.
Cupids as bakers and as makers of wreaths [p. 98]: Museo Borb., vol. 4, pl. 47, and vol. 6, pl. 51; Roux, Herculanum et Pompéi (text by Barré; 8 vols., Paris, 1840), vol. 2, pl. 83, 84; Helbig, Wandgemälde, nos. 777, 800; Jahn, Abhandlungen der Königl. sächsichen Gesellschaft der Wissenschaften, philolog-hist. Classe, vol. 5 (1870), pp. 315-318 and pl. 6.
Statues found in the imperial chapel [p. 98]: Mau, Statua di Marcello nipote di Augusto, Atti della reale Accademia di Napoli, vol. 15 (1891), pp. 133-151; Helbig, Osservazioni sopra i ritratti di Fulvia e di Ottavia, Mon. dei Lincei, vol. 1 (1890), pp. 573-590. Both these articles are summarized by Mau, Röm. Mitth., vol. 6 (1891), p. 268, and vol. 7 (1892), pp. 169-171. The statues were published with the names of Livia and Drusus, son of Tiberius, in the Museo Borb., vol. 3, pl. 37, 38; the right hand of Octavia is restored.
Destruction wrought by the earthquake of 63 [p. 101]: this matter will be discussed in an early number of the Römische Mittheilungen.
CHAPTER XIII. THE SANCTUARY OF THE CITY LARES
Excavation (1817), remains: Fiorelli, Pomp. ant. hist., vol. 1, pt. 3, p. 196; Mazois, Les ruines de Pompéi, vol. 3, pp. 50-51, pl. 37; Nissen, Pomp. Studien, pp. 303-306.
Identification and restoration: Mau, Der Städtische Larentempel in Pompeji, Röm. Mitth., vol. 11 (1896), pp. 285-301.
CHAPTER XIV. THE TEMPLE OF VESPASIAN
Excavation (in 1817), remains, identification, restoration: Fiorelli, Pomp. ant. hist., vol. 1, pt. 3, p. 198; Mazois, Les ruines de Pompéi, vol. 4, pp. 33-36, pl. 12-15; Garrucci, L’Augusteum, la curia degli Augustales, il Chalcidicum, l’aedes Fortunae Augustae, Bullettino archeologico Napolitano, Nuova Serie, vol. 2 (1854), pp. 4-6, published also in his Questioni Pompeiane (Naples, 1853), pp. 74-79; Nissen, Pomp. Studien, pp. 270-275; Mau, Osservazioni sul creduto tempio del Genio di Augusto in Pompei, Atti della reale Accademia di Napoli, vol. 16 (1894), pp. 181-188; Weichardt, Pompeji vor der Zerstörung, pp. 95-101. For the restoration given in Fig. 46, see Mau, Der Tempel des Vespasian in Pompeii, Röm. Mitth., vol. 15 (1900), pp. 133-138.
CHAPTER XV. THE BUILDING OF EUMACHIA
Excavation (1814-1818): Fiorelli, Pomp. ant. hist., vol. 1, pt. 3, pp. 154-158, 195, 198, 210-213, vol. 2, pp. 7-19, vol. 3, pp. 6, 13, 16, 23.
Remains, identification, restoration: Bechi, Del calcidico e della cripta di Eumachia scavati nel Foro di Pompeji l’anno 1820 (Naples, 1820); Gell, Pompeiana (Edit. of 1832), vol. 1, pp. 13-26; Mazois, Les ruines di Pompéi, vol. 3, pp. 42-47, pl. 22-27; Nissen, Pomp. Studien, pp. 287-303. For the restorations given in the text, see Mau, Osservazioni sull’ edifizio di Eumachia in Pompei, Röm. Mitth., vol. 7 (1892), pp. 113-143.
Inscriptions [pp. 111, 112]: C. I. L. X. 808-815.
Decoration [p. 111]: Mazois, Les ruines de Pompéi, vol. 3, pp. 45-46, pl. 26, 27; Mau, Geschichte der dec. Wandmalerei, pp. 334-335, 410, and pl. 10; Helbig, Wandgemälde, no. 1094 c.
CHAPTER XVI. THE COMITIUM
Remains, identification: Mazois, Les ruines de Pompéi, vol. 3, pp. 58-59; Nissen, Pomp. Studien, pp. 185-193; Overbeck-Mau, Pompeji, pp. 136-138.
CHAPTER XVII. THE MUNICIPAL BUILDINGS
Excavation (1814), remains, identification: Fiorelli, Pomp. ant. hist., vol. 1, pt. 3, pp. 154-159, vol. 2, p. 160; Mazois, Les ruines de Pompéi, vol. 3, p. 52, pl. 38; Nissen, Pomp. Studien, pp. 306-311; Overbeck-Mau, Pompeji, pp. 139-142.
CHAPTER XVIII. THE TEMPLE OF VENUS POMPEIANA
Excavation, remains, identification: Not. d. scavi, 1899, pp. 17-23, 1900, pp. 27-30. In these reports the temple is assigned to the worship of Augustus, the history of the building also being misunderstood. For a justification of the interpretation of the remains given in the text, see Mau, Der Tempel der Venus Pompeiana. Röm. Mitth., vol. 15 (1900), pp. 270-308 and pl. 7-8.
CHAPTER XIX. THE TEMPLE OF FORTUNA AUGUSTA
Excavation (1823-1824): Fiorelli, Pomp. ant. hist., vol. 2, pp. 84-85, 91, 95-98.
Remains, restoration: Mazois, Les ruines de Pompéi, vol. 4, pp. 45-48, pl. 24-26; Gell, Pompeiana (Edit. of 1832), vol. 1, pp. 69-82; Nissen, Pomp. Studien, pp. 178-184; Mau, Der Tempel der Fortuna Augusta in Pompeji, Röm. Mitth., vol. 11 (1896), pp. 269-284; Weichardt, Pompeji vor der Zerstörung, pp. 85-93.
Inscriptions [pp. 130, 132]: C. I. L. X. 820-828.
CHAPTER XX. THE FORUM TRIANGULARE AND THE GREEK TEMPLE
Excavation of the Forum and the temple (1767-1797): Fiorelli, Pomp. ant. hist., vol. 1, pt. 1, pp. 211, 276, 285, 286, 297, 307, 308, pt. 2, pp. 63-65.
Remains of the temple, restoration: Mazois, Les ruines de Pompéi, vol. 3, pp. 17-22, pl. 8-10. Especially attractive are the sketches and restorations given by Weichardt, Pompeji vor der Zerstörung, pp. 17-33, pl. 1, 2 (reproduced in our pl. 3), and 3. The best description of the remains of the temple is given by Koldewey and Puchstein, Die griechischen Tempel in Unteritalien und Sicilien (Berlin, 1899), pp. 45-49 and pl. 5; their conclusions are criticised by Mau, Röm. Mitth., vol. 15 (1900), pp. 126-128. See also von Duhn and Jacobi, Der griechische Tempel in Pompeji (Heidelberg, 1890); Sogliano, Il tempio nel Foro triangolare di Pompei, Mon. dei Lincei, vol. 1 (1890), pp. 189-200; both these contributions are reviewed by Mau, Röm. Mitth., vol. 6 (1891), pp. 258-267.
The colonnade contained ninety-five Doric columns [p. 135]: there were in addition two half-columns at the south end; Plan III in this respect is inexact. The number of columns is often given as one hundred.
Inscriptions of the sundial and the pedestal [p. 136]: C. I. L. X. 831, 832.
Number of columns in the temple front uneven [p. 137]: the steps are too broad for one intercolumniation, and must have been designed for two, as indicated in Fig. 62.
Human bones found in the enclosure [p. 139]: Romanelli, Viaggio a Pompei (1811), p. 104 (Edit. 2, 1817, p. 182), “Vi furono trovati molti avanzi di cadaveri sepolti.” Excavations made here at the suggestion of Professor Mau brought to light few traces of bones.
Oscan inscription [p. 139]: Zvetaieff, Sylloge inscriptionum Oscarum (Leipzig, 1868), no. 69 and pl. 13; von Planta, Grammatik der Oskisch-Umbrischen Inschriften, vol. 2, p. 501; Conway, Italic Dialects, vol. 1, p. 63.
Oscan inscription [p. 140]: see references below, pp. 530-531.
CHAPTER XXI. THE LARGE THEATRE
Excavation of the two theatres and the court behind the Large Theatre (July, 1764, to March, 1765; and December, 1791, to February, 1796): Fiorelli, Pomp. ant. hist., vol. 1, pt. 1, pp. 158-165, pt. 2, pp. 46-63. For the Small Theatre, see also vol. 1, pt. 2, pp. 69, 75.
Paintings at Pompeii relating to the stage: Helbig, Wandgemälde, nos. 1464-1476; Sogliano, Le pitture murali Campane, nos. 740-752; Maass, Affreschi scenici di Pompeii, Ann. dell’ Inst., vol. 53 (1881), pp. 109-159, and Mon. dell’ Inst., vol. 11, pl. 30-32.
Remains of the Large Theatre: Mazois, Les ruines de Pompéi, vol. 4, pp. 55-70, pl. 27-34; Fiorelli, Descrizione di Pompei, pp. 352-357; Nissen, Pomp. Studien, pp. 232-253; Overbeck-Mau, Pompeji, pp. 153-176.
The tribunals [p. 145]: it is evident from the language of Suetonius (Div. Aug. 44, solis virginibus Vestalibus locum in theatro separatim et contra praetoris tribunal dedit) that opposite the place set aside for the praetor, which was called tribunal, there was another likewise reserved. In our theatre the two platforms mentioned correspond exactly with this arrangement, and there is no other part of the structure to which the word tribunalia, in the inscription of the Holconii (p. 148), could properly be applied. We are safe therefore in calling the platforms tribunals.
Wall painting, showing theatre police seated in niches in front of the stage [p. 146]: found in the casa della fontana grande; described by Helbig, Wandgemälde, no. 1468; figured in Museo Borb., vol. 4, pl. 18, and in Wieseler, Theatergebäude und Denkmäler des Bühnenwesens bei den Griechen und Römern (Göttingen, 1851), pl. 11, 2. A similar figure sitting in a shallow niche has been found on a wall in the eighth region (VIII. II. 23); see Röm. Mitth., vol. 3 (1888), p. 202, no. 12. On the need of police to keep order in Roman theatres, see the references given by Marquardt, Röm. Staatsverwaltung, vol. 3 (Edit. 2), pp. 541-542; but cf. Körting, Geschichte des griechischen und römischen Theaters (Paderborn, 1897), p. 367.
Place of stage machinery [p. 147]: Pollux, Onomast. IV. 128.
Assemblies in the theatre [p. 148]: at Tarentum (282 B.C.), App. De rebus Samnit. VII. II; Dio Cass. Frag. XXIX. 5; at Pergamus, Plut. Sulla, 11. Cf. Muller, Bühnenalterthümer, pp. 73-75.
Inscriptions found in the theatre [pp. 148-150]: monumental, C. I. L. X. 833-843; painted inscriptions and graffiti, C. I. L. IV. pp. 63, 153-157.
The stage and the orchestra in the Greek and the Roman theatre [p. 150]: Vitr. V. VI-VIII.
The problem of the stage in the Greek theatre [p. 151]: Doerpfeld and Reisch, Das griechische Theater, Beiträge zur Geschichte des Dionysos-Theaters in Athen und anderer griechischer Theater (Athens and Leipzig, 1896), particularly pp. 341-365; Doerpfeld, Das griechische Theater Vitruvs, Athen. Mitth., vol. 22 (1897), pp. 439-462; vol. 23 (1898), pp. 326-356. A convenient summary of Doerpfeld’s conclusions and of the literature of the subject to 1898 is given by Frazer, Pausanias’s Description of Greece, vol. 3, pp. 254-255, and vol. 5, pp. 582-584.
The stage of the Large Theatre at Pompeii [p. 152]: Puchstein and Koldewey, Berliner Philologische Wochenschrift, 1896, pp. 477-478; Archäologischer Anzeiger, Beiblatt zum Jahrb. des Inst., 1896, pp. 30, 40; Puchstein, Die griechische Bühne (Berlin, 1901), pp. 75-77.
CHAPTER XXII. THE SMALL THEATRE
Excavation, remains: see references to Chap. XXI.
Decoration (second style): Mau, Geschichte der dec. Wandmalerei, pp. 248-249.
Inscriptions: C. I. L. X. 844, 845. Theft of the bronze letters of the inscription of Oculatius Verus [p. 156]: Fiorelli, Pomp. ant. hist., vol. 1, pt. 3, pp. 231, 277; Zangemeister, Sopra l’ iscrizione del teatro piccolo di Pompei, Bull. dell’ Inst., 1866, pp. 30-31.
Gaius Quinctius Valgus [p. 153]: Cic. De lege agraria, III; C. I. L. IX. 1140, X. 5282 (cf. Buecheler, Carmina Latina epigraphica, vol. 1, Leipzig, 1895, no. 12); Dessau, C. Quinctius Valgus, Der Erbauer des Amphitheaters zu Pompeii, Hermes, vol. 18 (1883), pp. 620-622.
The narrow doors at the rear of the stage designed to give access to the tribunalia [p. 156]: Kelsey, The Stage Entrances of the Small Theatre at Pompeii, American Journal of Archæology, series 2, vol. 4 (1900), p. 150, also vol. 6 (1902).
CHAPTER XXIII. THE THEATRE COLONNADE
Excavation (October 25, 1766, to April 7, 1769, and December 10, 1791, to February 20, 1794): Fiorelli, Pomp. ant. hist., vol. 1, pt. 1, pp. 195-228, pt. 2, pp. 46-48, 51, 52, 54, 151-153, pt. 3, p. 273.
Remains, identification, restoration: Mazois, Les ruines de Pompéi, vol. 3, pp. 12-15, pl. 2-6; Gell, Pompeiana (Edit. of 1852), p. 184; Garrucci, Il Ludus Gladiatorius, ovvero Convitti dei Gladiatori, in his Questioni Pompeiane (Naples, 1853), pp. 1-8; Nissen, Pomp. Studien, pp. 253-262. The suggestion has lately been made that the colonnade may have been designed as the Gymnasium of pre-Roman Pompeii (Petersen, Ueber die sogen. Gladiatorenkaserne in Pompeji, Röm. Mitth., vol. 14 (1899), pp. 103-104).
Graffiti: C. I. L. IV. pp. 157-159.
Exhibitions of gladiators [p. 161]: C. I. L. X. 1074, and references to Chap. XXX.
Paintings [pp. 161-162]: Helbig, Wandegemälde, nos. 322, 1512.
CHAPTER XXIV. THE PALAESTRA
Excavation (April 13 to August 31, 1797): Fiorelli, Pomp. ant. hist., vol. 1, pt. 2, pp. 66-68.
Remains, identification: Mazois, vol. 3, pp. 25-26, pl. 11, 12; Nissen, Pomp. Studien, pp. 158-170; Mau, Der Fundort des Neapler Doryphoros, Strena Helbigiana (Leipzig, 1900), pp. 184-187.
Measurements, showing conformity to the Oscan standard [p. 165]: Mau, Pomp. Beiträge, pp. 21-23.
Oscan inscription [p. 165]: Zvetaieff, Sylloge inscriptionum Oscarum, no. 63, pl. 11; von Planta, Grammatik der Oskisch-Umbrischen Dialekte, vol. 2, p. 499; Conway, Italic Dialects, vol. 1, no. 42.
Doryphorus [p. 166]: reproduction on a larger scale, Brunn and Bruckmann, Denkmäler griechischer und römischer Sculptur, no. 273.
CHAPTER XXV. THE TEMPLE OF ISIS
The worship of Isis outside of Egypt: Lafaye, Histoire du culte des divinités d’Alexandrie, Sérapis, Isis, Harpocrate et Anubis, hors de l’Égypte, depuis les origines jusqu’à la naissance de l’école néo-Platonicienne (Paris, 1883); for the literature relating to the worship of Isis in Italy, see Roscher, Ausführliches Lexikon der griechischen und römischen Mythologie, vol. 2, pt. 1, pp. 398-412.
Excavation of the temple (December 22, 1764, to September 27, 1766): Fiorelli, Pomp. ant. hist., vol. 1, pt. 1, pp. 164-194.
Inscriptions relating to the temple: Piranesi (see below), pl. 70-72; C. I. L. X. 846-851. Inscription found at Puteoli [p. 169]: C. I. L. I. 577, X. 1781; Wiegand, Die puteolanische Bauinschrift sachlich erläutert, Jahrbücher für classische Philologie, Supplementband 20 (1894), pp. 659-778. An interesting graffito relating to the worship of Isis was found in the house of the Silver Wedding in 1892; see Röm. Mitth., vol. 8 (1893), p. 57, no. 7 (cf. also de Rossi, Roma sotterranea, vol. 2, pp. 14-15).
Remains, restoration: Sogliano, Aedis Isidis Pompeiana, not yet published [see Preface, p. vi.]; Piranesi, Antiquités de Pompéi (designs made about 1788), vol. 2 (= vol. 26 of Opera, in 27 vols.), pl. 59-72; Mazois, Les ruines de Pompéi, vol. 4, p. 24, pl. 7-11; Niccolini, Le case ed i monumenti di Pompei (Naples, 1854-1895), vol. 1, pt. 3, end (12 pl.); Nissen, Pomp. Studien, pp. 170-175, 346-349; Mau, Pomp. Beiträge, p. 23; Weichardt, Pompeji vor der Zerstörung, pp. 103-113.
Statues—Bacchus [p. 170]: Museo Borb., vol. 9, pl. 11: Roux, Herculanum et Pompéi, vol. 6, pl. 21. Isis [p. 176]: Museo Borb., vol. 14, pl. 35. Herm of Sorex [p. 176], Piranesi, Antiquités de Pompéi, vol. 2. pl. 72. The statue of Venus has disappeared: Overbeck-Mau, Pompeji, note 208, p. 649.
Paintings [pp. 172 et seq.]: Helbig, Wandgemälde, nos. 1-6, 135, 138, 391 b, 962, 1013, 1096-99, 1103, 1271, 1292, 1571, 1576-1577. Paintings from Herculaneum [p. 178]: Roux, Herculanum et Pompéi, vol. 2, pl. 68, 69; Helbig, Wandgemälde, nos. 1111, 1112.
A left hand carried in procession in honor of Isis [p. 173]: Apul. Metam. XI. X.
Service described by Apuleius [p. 176]: Metam. XI. XX. While the people were praying the priest made a circuit of the altars, which were evidently, as at Pompeii, distributed about the temple in the court.
Perseus rescuing Andromeda [p. 179]: that the male figure is intended to represent Perseus and not Hermes is certain from the description of the figure when first excavated—“alla cinta tiene una testa alata” (Fiorelli, Pomp. ant. hist., vol. 1, pt. 1, p. 171). All trace of the Medusa head has now disappeared.
Initiation into the mysteries of Isis [p. 182]: Apul. Metam. XI. XXI, XXIII.
CHAPTER XXVI. THE TEMPLE OF ZEUS MILICHIUS
Excavation (September 27 to October 18, 1766; March 15-22 and June 14, 1798): Fiorelli, Pomp. ant. hist., vol. 1, pt. 1, pp. 194-195, pt. 2, pp. 70-71.
Remains, identification, restoration: Mazois, Les ruines de Pompéi, vol. 4, p. 22, pl. 4-6; Nissen, Pomp. Studien, pp. 175-177, 535-536; Mau, Pomp. Beiträge, pp. 13-15, 227-232; Mau, Geschichte der dec. Wandmalerei, pp. 60-61; Mau, Das Capitolium und der Tempel des Zeus Meilichios in Pompeji, Röm. Mitth., vol. 11 (1896), pp. 141-149. An impossible restoration is given by Weichardt, Pompeji vor der Zerstörung, pp. 116-123.
Two statues and a bust of terra cotta [p. 184]: von Rohden, Die Terracotten von Pompeji (Stuttgart, 1880), pp. 42-43, pl. 29.
Oscan inscription [p. 184]: Zvetaieff, Sylloge inscriptionum Oscarum, no. 62, pl. 10; von Planta, Grammatik der Oskisch-Umbrischen Dialekte, vol. 2, p. 499; Conway, Italic Dialects, vol. 1, pp. 58-59; Nissen, Pomp. Studien, pp. 531-536.
CHAPTER XXVII. THE STABIAN BATHS
Roman baths in general: Marquardt, Privatleben der Römer, Edit. 2, pt. 1, pp. 269-297; Mau, article Bäder in the Pauly-Wissowa Realencyclopädie, vol. 2, pt. 2, pp. 2743-2758; Nissen, Pomp. Studien, pp. 152-155.
Baths in Pompeii—in the second Insula of Region VIII: Mau, Röm. Mitth., vol. 3 (1888), pp. 194-205, vol. 5 (1890), pp. 130-141, vol. 10 (1895), pp. 218-219. In the so-called villa of Julia Felix: Chambalu, Die wiederverschüttete Besitzung der Julia Felix beim Amphitheater in Pompeji, Festschrift zur 43ten Versammlung deutscher Philologen und Schulmänner dargeboten von den höheren Lehranstalten Kölns (Cologne, 1895), and the review of this pamphlet by Mau, Röm. Mitth., vol. 10 (1895), pp. 225-227. For the baths of M. Crassus Frugi, see above, p. 408; for the baths in private houses at Pompeii, Mau, Pomp. Beiträge, pp. 149-151, and above, pp. 267, 306-307 (both in the house of the Silver Wedding), 346, 357, 362-363.
Excavation of the Stabian Baths (1854-1857; the official reports are meagre): Fiorelli, Pomp. ant. hist., vol. 2, pp. 589-658; cf. also Minervini, Notizie de’ più recenti scavi di Pompei, Bull. Archeologico Napolitano, Nuova Serie, vols. 2-6 (1853-1858).
Remains: Michaelis, Die neuen Bäder in Pompeji, Archäologische Zeitung, vol. 17 (1859), pp. 17-32, 37-46; Finati, Relazione degli scavi di Pompei, Museo Borb., vol. 16 (15 pp. text and pl. A-B); Niccolini, Le case ed i monumenti di Pompei, vol. 1, pt. 3 (12 pp., 8 pls.); Nissen, Pomp. Studien, pp. 140-158; Mau, Pomp. Beiträge, pp. 117-151; Overbeck-Mau, Pompeji, pp. 215-233; Mau, Geschichte der dec. Wandmalerei, p. 60.
Paintings: Helbig, Wandgemälde, nos. 30 (p. 11), 44, 416, 432, 1016, 1057, 1260 b, 1545; see below, pl. XIII.
Origin of the balneae pensiles [p. 187]: Valer. Max. IX. I. 1; Plin. N. H. IX. LIV. 168.
The anteroom of the men’s baths [p. 190]: in the front part of this was once a shallow basin, undoubtedly for preliminary cleaning before one entered the frigidarium; cf. p. 197.
Bath basin in the men’s tepidarium [p. 192]: cf. Kuszinsky, Aquincum (Budapest, 1889), p. 62.
The poet declaiming in the bath [p. 192]: Petr. Sat. XCI.; Hor. Sat. I. IV. 74-76; and cf. Mayor’s note to Juvenal I., 17 and III., 9.
Pulvinus [p. 193], testudo alvei [p. 194]: Vitr. V. X. Testudo alvei: Mau, Fulcra lectorum—testudines alveorum, Nachrichten von der Königl. Gesellschaft der Wissenschaften zu Göttingen, 1896, pp. 76-82; von Duhn and Jacobi, Der griechische Tempel in Pompeji, pp. 33-35 and pl. 9.
Inscriptions—Vulius and Aninius [p. 195]: C. I. L. X. 829. Vaccula [p. 197]: C. I. L. IV. Suppl. 1, no. 3340, VI. Atinius [p. 200]: Zvetaieff, Sylloge inscriptionum Oscarum, no. 66, pl. 13; von Planta, Grammatik der Oskisch-Umbrischen Dialekte, vol. 2, p. 500; Conway, Italic Dialects, vol. 1, p. 61.
Destrictarium [p. 195]: all the rooms at the left of the palaestra are of later date than the inscription; the present destrictarium probably takes the place of an earlier one.
Improvement of the arrangements for heating [p. 196]: the hollow walls of the caldarium are made with hollow tiles, while in the tepidarium tegulae mammatae are used; for a fuller discussion of the successive changes, see Mau, Pomp. Beiträge, pp. 131-141.
The brazier of Vaccula [p. 197]: Fiorelli, Pomp. ant. hist., vol. 2, pp. 649-650.
Hermes in the gymnasium at Phigalia [p. 200]: Paus. VIII. XXXIX. 4 (6); cf. also IV. XXXII. 1.
CHAPTER XXVIII. THE BATHS NEAR THE FORUM
Excavation [1824-1825]: Fiorelli, Pomp. ant. hist., vol. 2, pp. 106, 107-116, 118, 121-125, 128, vol. 3, p. 15.
Remains: Bechi, Terme Pompeiane, Museo Borb., vol. 2, pl. 49-52 (text, 31 pp.); Brulloff, Thermes di Pompéi (Paris, 1829), 10 large pls.; Gell, Pompeiana (Edit. of 1832), vol. 1, pp. 83-141, vol. 2, pp. 80-94; Mazois, Les ruines de Pompéi, vol. 3, pp. 67-77, pl. 47-50; Zahn, Neuentdeckte Wandgemälde in Pompeji (Stuttgart, 1828), pl. 2-5; Zahn, Die schönsten Ornamente und merkwürdigsten Gemälde aus Pompeji, Herkulanum und Stabiae, nebst einigen Grundrissen und Ansichten (3 parts, here cited as volumes, 302 pls. in 30 Heften, Berlin, 1827-1859), vol. 1, pl. 10, 46, 76, 94; Nissen, Pomp. Studien, pp. 128-135; Mau, Pomp. Beiträge, pp. 218-227.
Inscriptions of the builders [p. 203], of Vaccula [p. 205], of Aper and Rufus [p. 206]: C. I. L. X. 817-819.
CHAPTER XXIX. THE CENTRAL BATHS
Excavation (1876-1878), remains: Mau, Bull. dell’ Inst., 1877, pp. 214-223, 1878, pp. 251-254. Laconicum: Mau, Pomp. Beiträge, pp. 144-145.
Of amphitheatres in general, and gladiatorial sports: Friedlaender, Darstellungen aus der Sittengeschichte Roms in der Zeit von August bis zum Ausgang der Antonine, Edit. 6 (3 parts, here cited as volumes, Leipzig, 1888-1890), vol. 2, pp. 358-435, Edit. 7, vol. 2, pp. 45-66; briefer statement by Friedlaender in Marquardt’s Staatsverwaltung, Edit. 2, vol. 3, pp. 554-565; Meier, De gladiatura Romana quaestiones selectae (Bonn, 1881).
Gladiatorial combats in Campania and in Rome [pp. 212-213]: Strabo, V. IV. 12 (p. 250, C); Valer. Max. II. IV. 7; Liv. Epit. XVI. and XXIII. XXX. 15. For the games following Caesar’s triumph, see Suet. Div. Iul., XXXIX. App. Bel. Civ. II. XV. 102 and Dio. Cas. XLIII. 22.
Excavation of the Amphitheatre (1748, 1813-1816): Fiorelli, Pomp. ant. hist., vol. 1, pt. 1, pp. 5-6, pt. 3, pp. 114 et seq., 185, 189.
Remains: Mazois, Les ruines de Pompéi, vol. 4, pp. 77-86, pl. 43-47; Fiorelli, Descrizione di Pompéi, pp. 69-74; Nissen, Pomp. Studien, pp. 97-127.
Paintings [pp. 213, 214], Helbig, Wandgemälde, nos. 1514, 1515, 1519; cf. also nos. 1512-1513, 1516-1518, and Sogliano, Le pitture murali Campane, nos. 665-668.
Inscriptions relating to the building, or found on it [pp. 212, 218, 219]: C. I. L. X. 852-859; painted inscriptions and graffiti, C. I. L. IV. pp. 7, 64-66, 159.
Inscriptions relating to the games [pp. 221 et seq.]—announcements: C. I. L. IV. 1177-1204, Suppl. 3881-3884. Programme [p. 223]: C. I. L. IV. 2508. Custos, ostiarius ab amphitheatro [p. 225]: C. I. L. VI. 6226, 6228. Inscription of Salvius Capito [p. 225]: C. I. L. IX. 465, 466 (cf. also C. I. L. X. 4920). Names of gladiators, with their records [pp. 225-226]: C. I. L. IV., see Index, under gladiatores, p. 255. Graffiti in the house on Nola Street [p. 226]: C. I. L. IV. Suppl. 4277-4393; and Röm. Mitth., vol. 5 (1890), pp. 25-39, 64-65, vol. 7 (1892), p. 23.
Combat between the Pompeians and the Nucerians [pp. 220, 221]: Tac. Ann. XIV. XVII. Painting (Fig. 101; found Ins. I. III. 23), de Petra, L’ Anfiteatro pompeiano rappresentato in un antico dipinto, giornale degli scavi di Pompei, Nuova Serie, vol. 1 (1869), pp. 185-187, pl. 8; Matz, Bull. dell’ Inst., 1869, pp. 240-241; Sogliano, Le pitture murali Campane, no. 604. Inscriptions [see p. 492]: C. I. L. IV. 1293 (with caricature, figured Museo Borb., vol. 6, pl. C), 1329, 2183.
CHAPTER XXXI. STREETS, WATER SYSTEM, AND WAYSIDE SHRINES
The streets [pp. 227-229]: Mazois, Les ruines de Pompéi, vol. I, pp. 25-26, pl. 2, 3, 14, 15, 35, 37, vol. 2, pp. 35-39, pl. 2-8; Nissen, Pomp. Studien, pp. 516-572. Inscriptions on the pavement [p. 228], C. I. L. X. 870, 871.
The water system [pp. 230-233]: Mazois, Les ruines de Pompéi, vol. 3, p. 27, pl. 13; Murano, Pompei—donde venivano le acque potabili ai castelli acquarii (Naples, 1894); review of Murano’s treatise by Mau, Röm. Mitth., vol. 10 (1895), pp. 216-218. Age of the aqueduct supplying Pompeii: Mau, Röm. Mitth., vol. 10 (1895) pp. 49-51. Recent investigation of the system of sewers: Not. d. scavi, 1900, pp. 587-599. Water towers of Constantinople [p. 232]: von Hammer, Geschichte des Osmanischen Reichs (10 vols., Pest, 1827-1835), vol. 7, pp. 422, 598-599; cf. also Pardoe, Beauties of the Bosphorus (London, 1839), pp. 24-25.
Wayside shrines [pp. 233-236]: Mazois, Les ruines de Pompéi, vol. 2, pl. 6; Gell, Pompeiana (Edit. of 1852), pp. 97-98; Overbeck-Mau, Pompeji, pp. 242-244. Paintings of divinities on the outside of houses [p. 236]: Helbig, Wandgemälde, nos. 7-28; Sogliano, Le pitture murali Campane, nos. 1-4; serpents, Helbig, nos. 29, 30; Sogliano, nos. 5-8. Painting of the twelve gods; Gerhard, Intorno la pittura Pompeiana rappresentante i dodici dei, Ann. dell’ Inst., vol. 22 (1850), pp. 206-214. Inscription [p. 236]: C. I. L. IV. 813; cf. Pers. Sat. I. 113.
CHAPTER XXXII. THE DEFENCES OF THE CITY
Excavation of walls, gates, towers: Fiorelli, Pomp. ant. hist., vol. 1, pt. 1, pp. 154, 234-236, pt. 3, pp. 64-69, 76, 84-88, 96-97, 111-124, 131, 143-151, 160, 168-170, vol. 2, pp. 1, 501-506, 530, 593-597.
Remains: Mazois, Les ruines de Pompéi, vol. 1, pp. 33-37, 52-53, pl. 10-13, 35-37; Gell, Pompeiana (Edit. of 1852), pp. 87-96, 98; Nissen, Pomp. Studien, pp. 457-516; Mau, Pomp. Beiträge, pp. 211-215, 235-252; Mau, Geschichte der dec. Wandmalerei, pp. 57-59.
Oscan inscriptions [p. 240]: Zvetaieff, Sylloge inscriptionum Oscarum, nos. 80-83, pl. 14 (nos. 7, 8), pl. 15, pl. 16 (no. 4); von Planta, Grammatik der Oskisch-Umbrischen Dialekte, vol. 2, p. 503; Conway, Italic Dialects, vol. 1, pp. 69-71; Degering, Ueber die militärischen Wegweiser in Pompeji, Röm. Mitth., vol. 13 (1898), pp. 124-146; Mau, Die Oskischen Wegweiserinschriften in Pompeji, Röm. Mitth., vol. 14 (1899), pp. 105-113.
The Stabian Gate [p. 242]: Minervini, Strada e porta Stabiana, Bull. Arch. Napolitano, Nuova Serie, vol. 1 (1853), pp. 186-187 and pl. 8, fig. 10; Fiorelli, Gli scavi di Pompei dal 1861 al 1872, pp. 78-79, pl. 14, fig. 2.
Minerva as patron divinity of city gates [p. 242]: that is, according to Greek usage, an indication of the strength of Greek influence at Pompeii. Among the Romans the divinity of city gates was Juno. Cf. Serv. Com. in Verg. ad Aen. II, 610.
Inscription of Flaccus and Firmus [p. 242]: C. I. L. X. 1064.
CHAPTER XXXIII. THE POMPEIAN HOUSE
Of the Pompeian and the Roman house: Mazois, Essai sur les habitations des anciens romains, in Les ruines de Pompéi, vol. 2, pp. 3-34 (3 pls.); Mazois, Le palais de Scaurus (Paris, 1819; Edit. 3, revised by Varcollier, 1861); Gell, Pompeiana (Edit. of 1852), pp. 99-141; Zumpt, Ueber die bauliche Einrichtung des römischen Wohnhauses (Berlin, 1844; Edit. 2, 1852); Nissen, Pomp. Studien, pp. 593-668; Viollet-le-Duc, Histoire de l’habitation humaine (Paris, 1875), and English translation under the title, The Habitations of Man in all Ages (Boston, 1876), Chap. 18; Lange, Haus und Halle, Studien zur Geschichte des antiken Wohnhauses und der Basilica (Leipzig, 1885), especially pp. 50-59, 244-269; Guhl and Koner, Das Leben der Griechen und Römer (Edit. 6, Berlin, 1893), pp. 558-580, and English translation from the third German edition, Life of the Greeks and Romans (London, 1877), §§ 75, 76; Marquardt, Das Privatleben der Römer (Edit. 2, Leipzig, 1886), pp. 213-250; Middleton, article Domus in Smith’s Dictionary of Greek and Roman Antiquities, vol. 1 (Edit. 3, London, 1890), particularly pp. 684-687; Monceaux, Domus in Daremberg and Saglio’s Dictionnaire des antiquités grecques et romaines, vol. 2, pt. 1, especially pp. 349-362. For remains of houses and villas in Britain, cf., e.g., Wright, The Celt, the Roman, and the Saxon (Edit. 4, London, 1885), passim; Scarth, Roman Britain (London, 1883), Chap. 18; and the special articles in Archaeologia (London, 1770 +).
Inscriptions in Pompeian houses, including those in mosaic floors: C. I. L. X. 860-869, 872-875, 877-882.
Fauces, or prothyron [p. 248]: Vitr. VI. IV. 6; Greenough, The Fauces of the Roman House, Harvard Studies in Classical Philology, vol. 1 (1890), pp. 1-12.
Stone thresholds [p. 249]: Ivanoff, Varie specie di soglie in Pompei ed indagine sul vero sito della fauce, Ann. dell’ Inst., vol. 31 (1859), pp. 82-108, pl. D-F; and Mon. dell’ Inst., vol. 6, pl. 28.
Dangers of the streets of Rome at night [p. 250]: Juv. Sat. III. 305-308.
Kinds of atriums [p. 250], dimensions [p. 252]: Vitr. VI. III., IV.
Waterspouts of the compluvium [p. 251]: von Rohden, Die Terracotten von Pompeji, pl. 1-9.
Gartibulum [p. 254]: Var. de Ling. Lat. V. 125; Nissen, Pomp. Studien, p. 641.
Tablinum [pp. 255-258]: Vitr. VI. IV (III), 5-6; Var. ap. Non. p. 83; Nissen, Pomp. Studien, pp. 643-644.
Alae [p. 258]: Vitr. VI. IV (III), 4, 6.
Peristyle [p. 260]: Vitr. VI. IV (III), 7; Nissen, Pomp. Studien, pp. 645-668; Bie, Zur Geschichte des Hausperistyls, Jahrb. des. Inst., vol. 6 (1891), pp. 1-9.
Triclinium [p. 262]: Vitr. VI. V. I. Trimalchio’s dining rooms (cenationes): Petr. Sat. LXXVII.
Lares, Genius, and Penates in house paintings [p. 268]: Helbig, Wandgemälde, nos. 31-95; Sogliano, Le pitture murali Campane, nos. 9-46, 63-71. Serpents: ibid., nos. 47-62; see also de Marchi, Il culto privato di Roma antica, vol. 1 (Milan, 1896), pp. 27-144; Jordan, De Larum imaginibus atque cultu, Ann. dell’ Inst., vol. 34 (1862), pp. 300-339; Reifferscheid, De larum picturis Pompeianis, Ann. dell’ Inst., vol. 35 (1863), pp. 121-134; Jordan, De Genii et Eponae picturis Pompeianis nuper detectis, Ann. dell’ Inst., vol. 44 (1872), pp. 19-47, and pl. B, C; Wissowa, Die Ueberlieferung über die römischen Penaten, Hermes, vol. 22 (1887), pp. 29-57.
Genius of a woman as Juno [p. 270]: Mau, Röm. Mitth., vol. 2 (1887), p. 114. Jupiter and Venus: Helbig, Wandgemälde, no. 67. Two genii (Ins. IX. viii. 13): Mau, Röm. Mitth., vol. 5 (1890), pp. 244-245.
Shop fronts [p. 276]: cf. Middleton, Remains of Ancient Rome (2 vols., London, 1892), vol. 1, pp. 192-194.
Pergula [p. 277]: Mau, Sul significato della parola pergula nell’ architettura antica, Röm. Mitth., vol. 2 (1887), pp. 214-220. Natus in pergula: Petr. Sat. LXXIV.
CHAPTER XXXIV. THE HOUSE OF THE SURGEON
Excavation (1770): Fiorelli, Pomp. ant. hist., vol. 1, pt. 1, pp. 245-246, 248, 253 et seq. (p. 254, discovery of the instruments from which the house takes its name).
Plan, construction, restoration: Piranesi, Antiquités de Pompéi, vol. 1, pl. 14-21; Mazois, Les ruines de Pompéi, vol. 2, p. 51, and pl. 13 (plan); Fiorelli, Gli scavi di Pompei dal 1861 al 1872, pp. 79, 83; Nissen, Pomp. Studien, pp. 402-412; Mau, Pomp. Beiträge, 37-41, 49-51 (proof that the measurements of the house conform to the Oscan standard); Overbeck-Mau, Pompeji, pp. 279-281; Greenough, Harvard Studies in Classical Philology, vol. 1 (1890), pp. 10-11 (plan showing conformity of the chief measurements to the proportions recommended by Vitruvius).
Mural paintings: Helbig, Wandgemälde, nos. 1427 b, 1443, 1459, and pp. CVIII-CIX with note 4 on p. CXXV; cf. also Mau, Geschichte der dec. Wandmalerei, p. 66. For the woman painting, see Jahn, Abhandlungen der Königl. sächsischen Gesellschaft der Wissenschaften, philologisch-hist. Classe, vol. 5, pp. 298-305, and pl. 5.
CHAPTER XXXV. THE HOUSE OF SALLUST
Excavation (1806-1809): Fiorelli, Pomp. ant. hist., vol. 1, pt. 2, pp.
Plan, restoration: Mazois, Les ruines de Pompéi, vol. 2, pp. 75-79, pl. 35-39; Nissen, Pomp. Studien, pp. 652-654; Overbeck-Mau, Pompeji, pp. 300-307.
Decoration: above, pp. 459-460; Mau, Geschichte der dec. Wandmalerei, pp. 17-33, 112-114, 416-417, pl. 2; Helbig, Wandgemälde, nos. 51, 124, 249 b, 319, 373, 429, 465, 493, 746, 751, 900, 1055, 1255, 1311 (cf. Topogr. Index, p. 467). In the Naples Museum are good copies of the paintings that are in the garden and near the open-air triclinium.
CHAPTER XXXVI. THE HOUSE OF THE FAUN
Excavation (1830-1832): Fiorelli, Pomp. ant. hist., vol. 2, pp. 240-255, vol. 3, pp. 113-118; Not. d. scavi, 1900, p. 31.
Plan, construction: Fiorelli, Descrizione di Pompei, pp. 152-159; Nissen, Pomp. Studien, pp. 655-658; Overbeck-Mau, Pompeji, pp. 346-353.
Wall decoration: Mau, Geschichte der dec. Wandmalerei, pp. 33-57, 110-111, 122-123, 140, 162, 263-264, pl. 2; Niccolini, Le case ed i monumenti di Pompei, vol. 1.
Mosaics: Museo Borb., vol. 7, pl. 62, vol. 8, pl. 36-45, vol. 9, pl. 55, vol. 14, pl. 14; Roux, Herculanum et Pompéi, vol. 5, 6th series, pl. 20-29, 32; Schreiber, Atlas of Classical Antiquities (Eng. trans., London, 1895), pl. 63 (fish mosaic, with identification of species in the accompanying text); Marx, Il cosidetto Akratos nella casa del Fauno, Röm. Mitth., vol. 7 (1892), pp. 26-31.
CHAPTER XXXVII. A HOUSE NEAR THE PORTA MARINA
Decoration: Mau, Geschichte der dec. Wandmalerei, pp. 96, 281.
CHAPTER XXXVIII. THE HOUSE OF THE SILVER WEDDING
Excavation (1892-1893), plan, decoration: Mau, Röm. Mitth., vol. 8 (1893), pp. 14-61; cf. also Not. d. scavi, 1892.
Dated inscription [p. 305]: C. I. L. I. (Edit. 2), p. 342; cf. also Röm. Mitth., vol. 8, pp. 30-31.
CHAPTER XXXIX. THE HOUSE OF EPIDIUS RUFUS
Excavation (1866), plan: Fiorelli, Gli scavi di Pompei dal 1861 al 1872, pp. 62-63; Overbeck-Mau, Pompeji, pp. 297-300.
Decoration, paintings: Mau, Geschichte der dec. Wandmalerei, pp. 98-100; Helbig, Wandgemälde, nos. 59 b, 231, 863 b, 870 b, 874 b, 885 b, 892 b, 967 b.
CHAPTER XL. THE HOUSE OF THE TRAGIC POET
Excavation (1824-1825), plan, decoration: Fiorelli, Pomp. ant. hist., vol. 2, pp. 116-135; Gell, Pompeiana (Edit. of 1832), vol. 1, pp. 142-178; Niccolini, le case ed i monumenti di Pompei, vol. 1; Overbeck-Mau, Pompeji, pp. 285-289.
Paintings: Helbig, Wandgemälde, see p. LXXXVI. and Topogr. Index under Casa del poeta, p. 471; also Helbig, Le nozze di Giove e di Giunone, Ann. dell’ Inst., vol. 36 (1864), pp. 270-282.
The Iphigenia of Timanthes [p. 319]; Cic. Orator, XXII. 74; Plin. N. H. XXXV. X. 73; Quint. Inst. orat. II. XIII. 12, 13; Valer. Max. VIII. XI. ext. 6, with the comment of Lessing in the Laokoon, chap. 2, and the references given by Blümner, Lessing’s Laokoon (Berlin, 1876), pp. 36-37; cf. also Baumeister, Denkmäler des klassischen Altertums (3 vols., Munich, 1884-1888), vol. 1, pp. 754-757, and Jex-Blake and Sellers, The Elder Pliny’s Chapters on the History of Art (London, 1896), pp. 116-117, note 2.
CHAPTER XLI. THE HOUSE OF THE VETTII
Excavation (1894-1895), plan, restoration, decoration, paintings: Mau, Röm. Mitth., vol. 11 (1896), pp. 3-97; Sogliano, Mon. dei Lincei, vol. 8 (1898), pp. 233-416; Herrlich, Archäologischer Anzeiger, 1896, pp. 206-207; Mau, Amoren als Oelfabrikanten, Röm. Mitth., vol. 15 (1900), pp. 138-141; Mau, Amoren als Goldschmiede, Röm, Mitth., vol. 16 (1901), pp. 109-116.
CHAPTER XLII. THREE HOUSES OF UNUSUAL PLAN
House of Acceptus and Euhodia (excavated in 1882) [p. 341]: Mau, Bull. dell’ Inst. 1884, pp. 126-132.
House without a compluvium (excavated between 1890 and 1895) [p. 343]: Mau, Röm. Mitth., vol. 10 (1895), pp. 148-155. Fures foras, frugi intro [p. 346]: paraphrase of the saying, Petr. Sat. LII., aquam foras, vinum intro.
House of the Emperor Joseph II. (excavated in 1767-1769, filled up, and again excavated in 1885-1886) [p. 344]: Fiorelli, Pomp. ant. hist., vol. 1, pt. 1, pp. 208-211, 227-234; Mazois, Les ruines de Pompéi, vol. 2, pp. 73-74, pl. 32-34; Mau, Röm. Mitth., vol. 2 (1887), pp. 110-138.
CHAPTER XLIII. OTHER NOTEWORTHY HOUSES
House of Caecilius Jucundus (excavated in 1875): Mau, Bull, dell’ Inst., 1876, pp. 149-151, 160-168, 223-234; Mau, Geschichte der dec. Wandmalerei, pp. 65, 414-415, 446, 450, pl. 13, 14, 18; Sogliano, Le pitture murali Campane, nos. 133, 138, 158, 176, 192, 207, 214, 233, 236, 251, 291, 413, 448, 449, 477, 514, 531, 561, 579, 582, 583, 589, 594, 607, 640, 651, 659, 669, 670, 674, 675, 676, 677, 693, 700, 708, 809, 815, 816.
House of Lucretius (excavated in 1847): Fiorelli, Pomp. ant. hist., vol. 2, pp. 453, 459-473; Minervini, in Niccolini, Le case ed i monumenti di Pompei, vol. 1; Museo Borb., vol. 14, pl. A, B; Overbeck-Mau, Pompeji, pp. 314-320; Helbig, Wandgemälde, see Topogr. Index, p. 482.
House of the Hunt (excavated in 1834): Fiorelli, Pomp. ant. hist., vol. 3, pp. 286-288; Overbeck-Mau, Pompeji, pp. 277-279; Helbig, Wandgemälde, see Topogr. Index, p. 473, under Casa della caccia antica; Mau, Geschichte der dec. Wandmalerei, p. 454.
House of the Centenary (excavated in 1879-1880): Mau, Bull, dell’ Inst., 1881, pp. 113-128, 169-175, 221-238; 1882, pp. 23-32, 47-53, 87-91, 104-116, 137-148; Overbeck-Mau, Pompeji, pp. 353-359; Mau, Geschichte der dec. Wandmalerei, pp. 287, 314, 321, 368, 382-385, 443-444, 449, 452, 455; Sogliano, Le pitture murali Campane, nos. 530, 585, 596, 628.
House of the Sculptured Capitals (excavated in 1831-1833): Avellino, Descrizione di una casa pompeiana con capitelli figurati all’ ingresso, dissotterrata negli anni 1831, 1832 e 1833 (Naples, 1837), also in Mem. dell’ Acc. Ercolanese, vol. 6 (1837); Niccolini, le case ed i monumenti di Pompei, vol. 1; Fiorelli, Descrizione di Pompei, pp. 225-227; Marquardt, Röm. Privatleben (Edit. 2), pp. 224 ff.; Mau, Geschichte der dec. Wandmalerei, pp. 94, 374-379, 388, 430-431; Helbig, Wandgemälde, see Topogr. Index, p. 473.
House of Pansa (excavated in 1813-1827): Fiorelli, Pomp. ant. hist., vol. 1, pt. 3, pp. 116-161, vol. 2, pp. 195-197; Mazois, Les ruines de Pompéi, vol. 2, p. 82, pl. 42-45; Fiorelli, Descrizione di Pompei, pp. 102-106; Overbeck-Mau, Pompeji, pp. 325-329; Nissen, Pomp. Studien, pp. 658-659; Mau, Geschichte der dec. Wandmalerei, pp. 72-73; Helbig, Wandgemälde, nos. 53, 115, 1014.
House of Castor and Pollux (also known as house of the Dioscuri, and casa del Questore; excavated in 1828-1829): Fiorelli, Pomp. ant. hist., vol. 2, pp. 205-221; Niccolini, op. cit., vol. 1; Overbeck-Mau, Pompeji, pp. 334-342; Museo Borb., vol. 5 (see Relazione degli scavi di Pompei, at the end of the vol.; 26 pp. text, with plan; cf. also pl. 32, 33); Mau, Geschichte der dec. Wandmalerei, pp. 258, 372-373, 402, 420-421, 446, 455; Helbig, Wandgemälde, pp. LXXXV-LXXXVI and Topogr. Index, p. 469.
House of the Centaur (excavated in 1828-1829): Fiorelli, Pomp. ant. hist., vol. 2, pp. 217-224; Overbeck-Mau, Pompeji, pp. 330-334; Mau, Geschichte der dec. Wandmalerei, pp. 75-78; Helbig, Wandgemälde, see Topogr. Index, p. 469, under Casa del Centauro. For the large mosaic found in this house, known under the title “Force conquered by Love,” see Museo Borb., vol. 7, pl. 61; Roux, Herculanum et Pompéi, vol. 5, series 6, pl. 30.
House of Meleager (excavated in 1829-1830): Fiorelli, Pomp. ant. hist., vol. 2, pp. 224-240; Overbeck-Mau, Pompeji, pp. 307-314; Nissen, Pomp. Studien, pp. 426-427; Mau, Geschichte der dec. Wandmalerei, pp. 74, 373-374, 446, 453; Helbig, Wandgemälde, pp. LXXXVII-LXXXVIII and Topogr. Index, p. 468.
House of Apollo (excavated in 1829-1830): Fiorelli, Pomp. ant. hist., vol. 2, pp. 235-236; Nissen, Pomp. Studien, pp. 427-428; Mau, Geschichte der dec. Wandmalerei, p. 454; Helbig, Wandgemälde, see Topogr. Index p. 467.
Houses with mosaic fountains (excavated in 1826-1827): Fiorelli, Pomp. ant. hist., vol. 2, pp. 174-202; Descrizione di Pompei, pp. 125-126; Niccolini, op. cit., vol. 1; Helbig, Wandgemälde, p. LXXXVIII and Topogr. Index, p. 470, x.
House of the Anchor (excavated in 1830): Fiorelli, Pomp. ant. hist., vol. 2, pp. 237-239; Descrizione di Pompei, pp. 142-143; Mau, Geschichte der dec. Wandmalerei, pp. 79-80, 258-259, 302, 396-397, 399, 422; Helbig, Wandgemälde, nos. 174, 334, 495, 564, 1220.
House of the Citharist (excavation begun in 1853, completed in 1868): Fiorelli, Gli scavi di Pompei dal 1861 al 1872, pp. 65-69; Fiorelli, Descrizione di Pompei, pp. 61-65; Overbeck-Mau, Pompeji, pp. 359-366; Mau, Geschichte der dec. Wandmalerei, pp. 64, 251-252, 315, 316, 318, 326, 335-336, 343, 367, 389, 397, 411-413, 446. Paintings: Helbig, Wandgemälde, see Topogr. Index, pp. 482-483; Orestes and Pylades, Helbig, Oreste e Pilade in Tauride su dipinto Pompeiano, Ann. dell’ Inst., vol. 37 (1865), pp. 330-346, and Mon. dell’ Inst., vol. 8, pl. 22. Statue of Apollo [p. 352]: often reproduced, as by Overbeck, Atlas der griechischen Kunstmythologie, pl. 20, no. 26; Mon. dell’ Inst., vol. 8, pl. 13; Reinach, Répertoire de la statuaire grecque et romaine, vol. 2 (Paris, 1897), p. 97, no. 8; Brunn and Bruckmann, Denkmäler griechischer und römischer Sculptur, no. 302. See Kekulé, Statua Pompeiana di Apolline, Ann. dell’ Inst., vol. 37 (1865), pp. 55-71; Wolters, Eine Spartanische Apollostatue, Jahrb. des Inst., vol. 11 (1896), pp. 1-10; Furtwaengler, Meisterwerke der griechischen Plastik (Leipzig, 1893), pp. 79, 80, and English translation by Eugénie Sellers, Masterpieces of Greek Sculpture (London, 1895), p. 52; Collignon, Histoire de la sculpture grecque, vol. 2 (Paris, 1897), pp. 665-666.
House of Cornelius Rufus (excavated in 1861): Fiorelli, Giornale degli scavi, vol. 1 (1861); Fiorelli, Descrizione di Pompei, pp. 340-342; Mau, Geschichte der dec. Wandmalerei, p. 97; Overbeck-Mau, Pompeji, pp. 537-538.
House of Marcus Holconius (excavated in 1861): Bull. Arch. Italiano, vol. 1 (1861-1862), pp. 18-143; Fiorelli, Giornale degli scavi, vol. 1 (1861), pp. 13 et seq.; Fiorelli, Descrizione di Pompei, pp. 332-337; Overbeck-Mau, Pompeji, pp. 290-297.
CHAPTER XLIV. ROMAN VILLAS. THE VILLA OF DIOMEDES
Of Roman villas in general: Castell, The Villas of the Ancients Illustrated (London, 1728); Friedlaender, Sittengeschichte Roms, Edit. 5, vol. 2, pp. 85-93, 170-193, vol. 3, pp. 89-100, Edit. 7, pp. 201-210; Schmidt, Cicero’s Villen. Neue Jahrbücher für das klas. Altertum, vol. 3 (1899). pp. 328-355, 466-497, particularly pp. 328-333; Winnefeld, Tusci und Laurentum des jüngeren Plinius, Jahrb. des Inst., vol. 6 (1892), pp. 201-217; Winnefeld, Die Villa des Hadrian bei Tivoli (Jahrb. des Inst., Ergänzungsheft III, Berlin, 1895); Winnefeld, Römische Villen der Kaiserzeit, Preussische Jahrbücher, vol. 57 (1898), pp. 457 et seq.
Villas in the region about Baiae: Beloch, Campanien (Edit. 2, Berlin, 1883), pp. 201-202, 269-274.
Villas about Rome: Nibby, Dintorni di Roma (Edit. 2, 3 vols., Rome, 1848-1849), vol. 3, pp. 31-41, 203, 647-737; De Rossi, Il Tuscolo, le ville Tusculane e le loro antiche memorie cristiane, Bull. di Archeologia cristiana, 1872, especially pp. 87-121; Lanciani, Le ville Tusculane (with map, tav. 20-21), Bull. com., 1884, pp. 172-217; Lanciani, La villa Castrimeniese di Q. Voconio Pollione, ibid., pp. 141-171; Grossi-Gondi, Di una villa dei Quintilii nel Tusculano, Bull. com., 1898, pp. 313-338; Lanciani, The Destruction of Ancient Rome (New York, 1899), pp. 101-105; Grossi-Gondi, La villa dei Quintilii e la villa di Mondragone (Rome, 1901).
Villa of the Laberii at Uthina (south of Tunis): Gauckler, Le domaine des Laberii à Uthina, Monuments et Mémoires publiées par l’Académie des Inscriptions et Belles-lettres, vol. 3 (Fondation Piot, Paris, 1897), pp. 177-229; Schulten, review of Gauckler’s monograph, Göttingsche gelehrte Anzeigen, 1898, pp. 475-481, and briefer report (with plan) in Archäologischer Anzeiger, Beiblatt zum Jahrb. des Inst., 1898, pp. 113-115.
Villas in Britain: References to Chap. XXXIII, and Morgan, Roman British Mosaic Pavements (London, 1886).
The Villa of Diomedes (excavated in 1771-1774): Fiorelli, Pomp. ant. hist., vol. 1, pt. 1, pp. 249-278; Mazois, Les ruines de Pompéi, p. 89, pl. 47-53; Ivanoff, Architektonische Studien, Heft. 2 (mit Elaeuterungen von August Mau, Berlin, 1895), pl. 4-6; Overbeck-Mau, Pompeji, pp. 369-376; Mau, Pomp. Beiträge, p. 151; Helbig, Wandgemälde, see Topogr. Index, p. 483.
Bedroom in Pliny’s villa [p. 358]: Plin. Ep. II. XVII. 23.
CHAPTER XLV. THE VILLA RUSTICA AT BOSCOREALE
Excavation, plan, remains: Mau, Röm. Mitth., vol. 9 (1894), pp. 349-358, vol. 11 (1896), pp. 131-140; Pasqui, La villa pompeiana della Pisanella presso Boscoreale, Mon. dei Lincei, vol. 7 (1897), pp. 397-554. For the collection of silverware, see references on p. 538. Part of the objects of bronze found in the villa are in Berlin; see Pernice, Bronzen aus Boscoreale, Archäologischer Anzeiger, Beiblatt zum Jahrb. des Inst., vol. 15 (1900), pp. 177-181. Others are in the Field Columbian Museum, Chicago; see Tarbell, American Journal of Archaeology, vol. 3 (1899), Second Series, p. 584.
Sleeping room of the overseer near the entrance [p. 363]: Varro, R.R. I, xiii, 2.
Small open cistern [p. 366]: As the establishment was not connected with an aqueduct, rain water was carefully saved.
The villa as a country residence [p. 366]: In the farmhouses about Rome and Naples to-day rooms over the quarters of the tenant are reserved for the use of the owner.
CHAPTER XLVI. HOUSEHOLD FURNITURE
Nearly all the articles of furniture and of the toilet referred to in this chapter are figured and described, with many others, in the Real Museo Borbonico. For detailed reference, see the Index, near the end of vol. 16 (pp. 96-97, Ori; pp. 97-98, Argenti; pp. 99-112, Suppellettile), and our List of Illustrations, pp. xxi-xxiii. Most of them are reproduced by Roux, Herculanum et Pompéi, vol. 7; a number are figured by Piranesi in the volume, Oggetti di uso civile, militare e religioso, trovati a Pompeia e ad Ercolano (= vol. 27 of his Opera). See also the references on the Pompeian and the Roman house [pp. 531-532], and Becker, Gallus (eighth English edition, London, 1886), pp. 285-301; Guhl and Koner, Life of the Greeks and Romans, §§ 86-93, 97; Friedlaender, Sittengeschichte Roms, Edit. 5, vol. 3, pp. 100-112, Edit. 7, vol. 2, pp. 210-220; Marquardt, Röm. Privatleben (Edit. 2), pp. 607-768. Cf. Mau, Fornelli antichi, Röm. Mitth., vol. 10 (1898), pp. 38-46.
Silver cups found in the Casa dell’ Argenteria [p. 379]: Fiorelli, Pomp. ant. hist., vol. 2, p. 305.
The treasure of Boscoreale [p. 380]: Héron de Villefosse, Le trésor de Boscoreale, Monuments et Mémoires publiés par l’Académie des Inscriptions et Belles-lettres, vol. 5 (Fondation Piot, Paris, 1899), fasc. 1 and 2; also Michaelis, Der Silberschatz von Boscoreale, Preussische Jahrbücher, vol. 85 (1896), pp. 19-56; Winter, Der Silberschatz von Boscoreale, Archäologischer Anzeiger, Beiblatt zum Jahrb. des Inst., vol. 11 (1896), pp. 74-87; cf. also Collignon, Histoire de la sculpture grecque, vol. 2, pp. 681-682.
Shallow bowl with a representation of Alexandria [p. 380]: Two similar bowls were ornamented with realistic portrait heads of a man and a woman, which, to judge from the manner of dressing the hair, probably date from the reign of Claudius or Nero. The bowl containing the portrait of the woman had been lost, and the detached head is now in the British Museum. The other, with the rest of the collection (102 pieces) is in the Louvre.
Beside Epicurus an eager pig [p. 381]: cf. Hor. Ep. I. iv. 16, Epicuri de grege porcus.
Greek inscription [p. 382]: Héron de Villefosse, op. cit., p. 59.
| ΖΩΝ ΜΕΤΑ | ζῶν μετά- |
| ΛΑΒΕΤΟΓΑΡ | λαβε, τὸ γὰρ |
| ΑΥΡΙΟΝΑΔΗ | αὔριον ἄδη- |
| ΛΟΝΕϹΤΙ | λόν ἐστι |
CHAPTER XLVII. THE TRADES AT POMPEII. THE BAKERS
Of the trades in general: Blümner, Technologie und Terminologie der Gewerbe und Künste bei Griechen und Römern (4 vols.; Leipzig, 1875-1887); Marquardt, Röm. Privatleben, pt. 2 (Edit. 2; Leipzig, 1886).
Inscriptions relating to the trades at Pompeii: C. I. L. IV., see Index, p. 256, under artes et officia privata.
Signs of shops [p. 387]: Jordan, Ueber römische Ausbäugeschilder, Archäologische Zeitung, vol. 4 (1871), pp. 75 et seq. Inscription of Diogenes: C. I. L. X. 868; see the article, Aushängeschilder, by Mau, in Pauly-Wissowa, Realencyclopädie, vol. 2. pp. 2558-2559.
Cupids as carpenters and shoemakers [p. 385]: Helbig, Wandgemälde, nos. 804, 805; the two paintings are often reproduced, as by Schreiber, Atlas of Classical Antiquities, English translation by Anderson (London, 1895), pl. 72, 1, and 73, 12. Stuccoer (tector): Bull, dell’ Inst., 1879, p. 134; Sogliano, Le pitture murali Campane, no. 655; Blümner, Ann. dell’ Inst., vol. 53 (1881), pp. 107-108, pl. H.
Bakers and bakeshops [p. 388]: Blümner, op. cit., vol. 1, pp. 1-88; Marquardt, op. cit., pp. 414-424; Fulvio, Delle fornaci e dei forni pompeiani, Pompei e la regione sotterrata dal Vesuvio nell’ anno LXXIX. pp. 273-291; de Rossi, Antichi mulini in Roma e nel Lazio, Ann. dell’ Inst., vol. 29 (1857), pp. 274-281; Mau, Su certi apparecchi nei pistrini di Pompei, Röm. Mitth., vol. 1 (1886), pp. 45-48, and pl. 3. Processes of bread-making: best illustrated in the reliefs of the monument of Eurysaces, Rome, shown in Mon. dell’ Inst., vol. 2, pl. 58; cf. C. I. L. I. 1013-1015; Jahn, Sepolcro di Eurisace, Ann. dell’ Inst., vol. 10 (1838), particularly pp. 231-248. Loaves of bread represented in paintings: Helbig, Wandgemälde, nos. 1501, 1661 ff.; see, e.g., Museo Borb., vol. 6, pl. 38, vol. 8, pl. 57. Remains of loaves found at Pompeii: Fiorelli, Gli scavi di Pompei dal 1861 al 1872, p. 172.
CHAPTER XLVIII. THE FULLERS AND THE TANNERS
Appliances and processes: Blümner, op. cit., vol. 1, pp. 155-178, 257-287. A fuller description of the tannery, with illustrations showing the implements discovered, is given by Mau, Bull. dell’ Inst., 1874, pp. 271-275, 1875, pp. 18-25.
No soap in Pompeii [p. 393]: Hofmann, Ueber vermeintliche antike Seife, Wiener Studien, vol. 4 (1882), pp. 263-270.
Pictures illustrating the fullery [pp. 394-395]: Museo Borb., vol. 4, pl. 49, 50; Helbig, Wandgemälde, no. 1502; Jahn, Abhandlungen der königl. sächsischen Gesellschaft des Wissenschaften, philologisch-hist. Classe, vol. 5 (1870), pp. 305-311, and pl. 4.
CHAPTER XLIX. INNS AND WINESHOPS
Roman inns: Friedlaender, Sittengeschichte Roms, Edit. 5, vol. 2, pp. 33-39, Edit. 7, vol. 1, pp. 311-325.
Inscriptions: caupones, copones, C. I. L. IV., see Index, p. 256; of Sittius, C. I. L. IV. 806, 807 (for the picture, see Helbig, Wandgemälde, no. 1601); of the inn, Ins. VII, XII, C. I. L. IV. 2144-2164.
Pictures illustrating the life of the wineshop [p. 403]: Fiorelli, Pomp. ant. hist., vol. 2, p. 204; Museo Borb., vol. 4, pl. A, vol. 5, pl. 48; Helbig, Wandgemälde, nos. 1487, 1504.
Selling of wine mixed with water [p. 404]: a stock charge against ancient innkeepers; Trimalchio (Petr. Sat. XXXIX) makes out that these were born under the sign Aquarius, ‘the waterer.’ For the wineshop in which the graffito was found, see Mau, Bull. dell’ Inst., 1874, pp. 252-256.
CHAPTER L. THE STREET OF TOMBS
Of Roman tombs and rites of burial: Marquardt, Röm. Privatleben (Edit. 2), pp. 340-385; Friedlaender, Sittengeschichte Roms, Edit. 5, vol. 3, pp. 112-123, Edit. 7, vol. 2, pp. 220-228; Guhl and Koner, Life of the Greeks and Romans, §§ 77, 78, 110; Lanciani, Pagan and Christian Rome (1892), pp. 168-208, 253-305; Vollmer, De funere publico Romanorum, Jahrbücher für classische Philologie, Supplementband 19 (1893), pp. 319-364; see the article Bestattung, by Mau, in Pauly-Wissowa, Realencyclopädie, vol. 3, pp. 346-359.
Of the street of tombs as a whole: Mazois, Les ruines de Pompéi, vol. 1; Fiorelli, Descrizione di Pompei, pp. 401-419; Nissen, Pomp. Studien, pp. 381-397; Overbeck-Mau, Pompeji, pp. 398-422.
Tombs near the Herculaneum gate, not including the Garland tomb (excavated 1763-1764, 1769-1770): Fiorelli, Pomp. ant. hist., vol. 1, pt. 1, pp. 150-155, 234-241, pt. 2, pp. 110-118 (journal of Francesco la Vega); Piranesi, Antiquités de Pompéi, vols. 1, 2, pl. 2-5, 34-44. Sepulchral enclosure of Terentius Felix (excavation finished December 15, 1828): Fiorelli, Pomp. ant. hist., vol. 2, p. 217; Bonucci, Pompéi décrite (seconde traduction de la 3e édition italienne, Naples, 1830), p. 73. The tomb nearest the gate on the right: Mau, Röm. Mitth., vol. 3 (1888), pp. 140-142.
Tombs farther from the gate, to the limit of excavation (excavated 1806-1813): Fiorelli, Pomp. ant. hist., vol. 1, pt. 2, pp. 87, 176-177, (Garland tomb), pt. 3, pp. 74-120, 223-225, 249; Millin, Description des tombeaux qui ont été découverts à Pompéi dans l’année 1812 (Naples, 1813); Clarac, Fouille faite à Pompéi en présence de S. M. la Reine des Deux Siciles le 18 Mars, 1813 (Naples, 1813). Tomb of the blue glass vase (1837): Fiorelli, Pomp. ant. hist., vol. 3, p. 132; Schulz, in his Scavi di Pompei, Ann. dell’ Inst., vol. 10 (1838), pp. 194-195. Tomb of Diomedes (excavated in 1775): Fiorelli, Pomp. ant. hist., vol. 1, pt. 1, pp. 279-280. Tomb of Istacidius Helenus (1775, 1828): Fiorelli, Pomp. ant. hist, vol. 1, pt. 1. pp. 279-280, vol. 2, p. 217. The pre-Roman graves [p. 407]: Mau and von Duhn, Bull. dell’ Inst., 1874, pp. 156-167; earlier finds of painted vases, Bonucci, Pompéi (1830), p. 65; and de Iorio, Plan de Pompéi et remarques sur ses édifices (Naples, 1828), p. 33.
T. Suedius Clemens [pp. 407-408; cf. also p. 488]: Clemens was now evidently a supporter of Vespasian; previously he had been in the service of Otho (Tac. Hist. I. LXXXVII, II. XII).
Blue glass vase [p. 415]: Schultz, Anforina di vetro con bassirilievi rinvenuta in Pompei, Ann. dell’ Inst., vol. 11 (1839), pp. 84-100.
Gladiatorial scenes on the tomb of Scaurus [p. 419]: admirably engraved by Mazois (op. cit., pl. 30, 31, 32), and frequently reproduced, as by Schreiber, Atlas of Classical Antiquities (Eng. trans., 1895), pl. 30, 2-9, text, with citation of literature, p. 59; Niccolini, le case ed i monumenti di Pompei, vol. 1. Inscriptions accompanying the figures: C. I. L. IV. 1182; the inscription of the tomb itself is given, C. I. L. X. 1024. In his interpretation of the reliefs Mazois incorrectly assumed (op. cit., pp. 47-48) that on account of the baiting of a bear by one of the figures with a cloth the tomb could not have been built before the time of Claudius. The passage cited by him (Plin. N. H. VIII. XVI. 54) has no bearing on the date; but the tomb of Scaurus, which belongs neither to the oldest nor to the most recent, may well have been built in the time of Claudius or of Nero.
Ship on the tomb of Naevoleia Tyche [p. 423]: Jordan, Ann. dell’ Inst., vol. 44 (1872), pp. 20-26; Visconti, Fronte di Sarcofago con Tritoni e navi, Bull. Com., vol. 1 (1872-1873), pp. 255-269; cf. Cic. De Sen. XIX. 71. Petronius (Sat. LXXI.) humorously represents Trimalchio as ordering ‘ships under full sail’ among the carvings of his tomb.
Inscription of Salvius [p. 426]: found, according to C. I. L. X. 1032, beside the tomb of Naevoleia Tyche; but we have the testimony of Bonucci (Pompéi, 1830, p. 37) to the effect that it was found in the niche where it now is, where it exactly fits the cavity. The mistake in the Corpus may have arisen from a misunderstanding of the report of the excavation, which is now unfortunately lost.
M. Alleius Luccius Libella [p. 426]: the name was originally Luccius Libella, with what praenomen is not clear; but Luccius Libella married the daughter of M. Alleius (M. Alleius Nigidius Maius?) and was adopted by him, assuming his praenomen and nomen, so that the full name took the form given in the inscription. The son dropped the original nomen Luccius, and was called simply M. Alleius Libella. In like manner the name of the son of D. Lucretius Satrius Valens became D. Lucretius Valens [p. 222].
CHAPTER LI. BURIAL PLACES NEAR THE NOLA, STABIAN, AND NOCERA GATES
Burial places near the Nola Gate [p. 429]: Fiorelli, Pomp. ant. hist., vol. 2, pp. 594-597; Nissen, Pomp. Studien, pp. 480-483.
Graves east of the Stabian Road [p. 429]—earlier finds: Fiorelli, Pomp. ant. hist., vol. 1. pt. 1, pp. 11-12, 14, 42, 46-48, 50, 51-52; C. I. L. X. 1047-1062; Röm. Mitth., vol. 10 (1895), p. 226, 7. Later finds: Not. d. scavi, 1893, pp. 333-335, 1894, pp. 15-16, 382-385, 1897, pp. 275-276; Mau, Scavi fuori porta Stabiana, Röm. Mitth., vol. 9 (1894). pp. 62-65. vol. 10 (1895), pp. 156-159.
Tombs near the Stabian Gate [p. 430]: Not. d. scavi. 1889, pp. 280-281, 368-369, 406-410, 1890, pp. 44-45, 165; Mau, Scavi fuori porta Stabiana, Röm. Mitth., vol. 5 (1890), pp. 277-284. The inscriptions are given also in Ephem. Epigr., vol. 8, pp. 87-88 (nos. 318, 325, 327, 330).
Tombs near the Amphitheatre [p. 431]: Not. d. scavi, 1886, pp. 334-337, 1887, pp. 33-40, 452-458; Mau, Sepolcri della via Nucerina, Röm. Mitth., vol. 3 (1888), pp. 120-149. For the inscriptions, see also Ephem. Epigr., vol. 8, pp. 88-90 (320, 321, 324, 326, 328, 329, 332); advertisement of the stray horse, Röm. Mitth., vol. 3, p. 145.
Desecration of tombs near Rome [p. 436]: Lanciani, The Destruction of Ancient Rome, pp. 89-98.
CHAPTER LII. ARCHITECTURE
Doric frieze with red metopes [p. 441]: there is a similar frieze in the house VII. III. 31; see Mau, Geschichte der dec. Wandmalerei, p. 97.
CHAPTER LIII. SCULPTURE
Of the sculptures found at Pompeii: Very few of the sculptures unearthed at Pompeii are treated or reproduced in the comprehensive works on ancient sculpture. The more important statues and reliefs found prior to 1865, as well as those discovered in Herculaneum, are published in the Real Museo Borbonico, with descriptive text; see the Index at the end of vol. 16, pp. 8-34. They are reproduced also by Roux, with descriptive text by Barré, Herculanum et Pompéi, vols. 6 and 7 (first part). These engravings, while in many cases faulty, are often serviceable to students at a distance in the identification of photographs, which are easily obtained through the Naples dealers. The better terra-cottas are published by Von Rohden, Die Terracotten von Pompeji (Stuttgart, 1880). A somewhat fuller treatment of Pompeian sculpture is given in Overbeck-Mau, Pompeji, pp. 532-563.
Heads of Epicurus, Demosthenes, and Callimachus [p. 447]: Mau, Bull. dell’ Inst., 1876, pp. 242-243; Brizio, Ann. dell’ Inst., vol. 45 (1873), pp. 98-106; Mommsen and Robert, Archäologische Zeitung, 1880, pp. 32-36; Comparetti, La Villa Ercolanese dei Pisoni (Torino, 1883), pp. 33-53, pl. III, nos. 4, 7, 8; Mau, Bull. dell’ Inst., 1883, pp. 89-96; for other references, see Helbig, Führer durch die öffentlichen Sammlungen klassischer Altertümer in Rom (Edit. 2, 2 vols., Leipzig, 1899), vol. 1, p. 319, no. 476.
Busts of Virgil and Horace [p. 448] (found in October, 1868): Giornale degli scavi di Pompei, Nuova Serie, vol. 1 (1868), p. 133 and pl. 1; Fiorelli, Gli scavi di Pompei dal 1861 al 1872, p. 164; Bernoulli, Römische Ikonographie, vol. 1 (Stuttgart, 1882), pp. 127, 192; Helbig, Führer durch die öffentlichen Sammlungen klassischer Altertümer in Rom (Edit. 2), vol. 1, pp. 355-356. A further reason why Brutus cannot be represented in the Naples bust is that the similar bust in the Capitoline Museum in Rome (Helbig, op. cit., no. 536) shows a person well on in years, while the prominence of Brutus lasted only for a brief period, and it is not likely that there should be preserved to us portraits representing him at periods so entirely different. Susa mosaic: Comptes rendus de l’Académie des Inscriptions et Belles-lettres, serie 4, vol. 24 (Paris, 1896), pp. 578-581 and pl. after p. 580; Gauckler, Les Mosaïques virgiliennes de Sousse, Monuments et Mémoires publiées par l’Académie des Inscriptions et Belles-lettres, vol. 4 (Fondation Piot, 1897), pp. 233-234; Fowler, Portraits of Virgil, School Review, vol. 6 (1898), pp. 598-605; Archäologischer Anzeiger, Beiblatt zum Jahrb. des Inst., vol. 13 (1898), p. 114.
Aphrodite and Spes [p. 450]: Mau, Bull, dell’ Inst., 1873, pp. 233-235.
Artemis [p. 450]: often reproduced, as Museo Borb., vol. 2, pl. 8; Roux, Herculanum et Pompéi, vol. 6, pl. 76, 77; Brunn and Bruckmann, Denkmäler griechischer und römischer Sculptur, no. 356. Identification with Artemis Laphria (Paus. VII. XVIII. 9): Studniczka, Die archaische Artemis-statuette aus Pompeii, Röm. Mitth., vol. 3 (1888), pp. 277-302, and pl. 10; Collignon, Histoire de la sculpture grecque, vol. 2 (Paris, 1897), pp. 656-657.
Dancing satyr [p. 450]: Museo Borb., vol. 9, pl. 42; Roux, Herculanum et Pompéi, vol. 6, pl. 59; Overbeck-Mau, Pompeji, pp. 549-551.
Silenus carrying frame with glass vase [p. 451]: Museo Borb., vol. 16, pl. 29; Fiorelli, Gli scavi di Pompei dal 1861 al 1872, p. 159; Overbeck-Mau, Pompeji, p. 552.
Listening Dionysus [p. 452]: Giornale degli scavi di Pompei, 1862, p. 60 and pl. 14; Fiorelli, Gli scavi di Pompei dal 1861 al 1872, pp. 158-159; Benndorf, Sulla statua Pompeiana creduta di Narcisso, Ann. dell’ Inst., vol. 38 (1866), pp. 107-113; Overbeck-Mau, Pompeji, pp. 552-555; Hauser, Narcisso, Jahrb. des Inst., vol. 4 (1889), pp. 113-118; Collignon, Histoire de la sculpture grecque, vol. 2, pp. 451-453; Museo Borb., vol. 16, pl. 28; Brunn and Bruckmann, Denkmäler, no. 384. Hauser in the article cited makes it appear probable that the figure had originally a somewhat different pose; the right foot rested flat upon the base, the left only on the heel, so that the body, instead of leaning forward, was slightly bent back. The present pose, however, was given to the figure in antiquity; according to G. Patroni, the wedge of lead under the right foot was in its present place when the statuette was discovered.
Ephebus of 1900 [p. 453]: Not. d. scavi, 1900, pp. 584-587 (7 illustrations); Sogliano, L’efebo in bronzo rinvenuto in Pompei, Mon. dei Lincei, vol. 10 (1901), pp. 641-654, pl. 16-26. This statue is assigned to the Roman period by Waldstein, The Monthly Review, 1901, pp. 125-126, and Petersen, Röm. Mitth., vol. 16 (1901), p. 96.
CHAPTER LIV. PAINTING. WALL DECORATION
Technique of Pompeian painting: Donner, Die erhaltenen antiken Wandmalereien in technischer Beziehung, printed as an introduction to Helbig’s Wandgemälde (see Chap. LV.), pp. I—CXXVII; Mau, Geschichte der decorativen Wandmalerei in Pompeji (Berlin, 1882; with atlas of 20 plates).
Specimen illustrations: Many entire walls as well as single paintings are reproduced in color in the extensive works by Zahn, Die schönsten Ornamente und merkwürdigsten Gemälde aus Pompeji, Herkulanum und Stabiae, nebst einigen Grundrissen und Ansichten (Mit deutschem und französischem Text. Drei Abtheilungen in 30 Heften, 302 Tafeln. Berlin, 1827-1859); and Niccolini, Le case ed i monumenti di Pompei designati e descritti (Naples, 1854-1901). Both works are rarely found complete, and the plates of the second in particular leave much to be desired in respect to drawing as well as coloring; it has therefore been thought best not to encumber these notes with detailed references to them. A number of walls are shown also by Roux, Herculanum et Pompéi (8 vols., Paris, 1840), vol. 1 (108 plates), and by D’Amelio, Dipinti Murali di Pompei, Naples, 1888. Professor Mau has in preparation a new work on wall decoration which will be illustrated by colored plates similar to those in the atlas to his Wandmalerei. The sources of the illustrations in this and the following chapter are given in our List of Illustrations, p. xxv.
Preparation of the wall [p. 456]: Vitr. VII. III; cf. also Middleton, The Remains of Ancient Rome (2 vols. London, 1892), vol. 1, pp. 91-103.
Decoration of the house of Lucretius [p. 457]: see references on p. 528.
The four styles of decoration [p. 457]: suggestive critical comments by Wickhoff, Roman Art (English trans. by Mrs. S. Arthur Strong, London, 1900), pp. 117 ff.; but see the review of the German original by Mau, Röm. Mitth., vol. 10 (1895), pp. 227-235.
Decoration of the second style in Rome [p. 462]—house of Germanicus on the Palatine: Mau, Due pareti d’una stanza sul Palatino, Ann. dell’ Inst., vol. 52 (1880), pp. 136-149, and Mon. dell’ Inst., vol. 11, pl. 22-23; Mau, Geschichte der dec. Wandmalerei, pp. 196-205 and pl. 9. House in the Farnesina garden: Not. d. Scavi, 1879, pp. 15, 40, 68, 114, 141, 179-180, 267, 314, 333, 1880, pp. 32, 127-128, 138-140, and pl. 4 (plan); Mau, Parete dipinta della casa antica scoperta nel giardino della Farnesina, Ann. dell’ Inst., vol. 54 (1882), pp. 301-308; Hülsen, Fregio dipinta nella casa antica scoperta nel giardino della Farnesina, ibid., pp. 309-314; Mau, Pitture della casa antica scoperta nella villa Farnesina, Ann. dell’ Inst., vol. 56 (1884), pp. 307-322, vol. 57 (1885), pp. 302-318; Mon. dell’ Inst., vol. 11, pl. 44-48, vol. 12, pl. 5, 5 a, 7, 7 a, 8, 17-34; Supplemento (1891), pl. 32-36; especially Lessing and Mau, Wand-und Deckenschmuck eines römischen Hauses aus der Zeit des Augustus (Berlin, 1891; with 16 plates from the same blocks as those in the Mon. dell’ Inst.); Helbig, Führer durch die Sammlungen klassischer Altertümer in Rom, vol. 2, pp. 226-223, nos. 1107-1108, 1119-1122, 1124, 1129-1136, 1141-1144, 1146-1148, 1151.
Of the paintings in general: the paintings discovered prior to 1868 are described, with references to the literature, by W. Helbig, Wandgemälde der vom Vesuv verschütteten Städte Campaniens (Nebst einer Abhandlung über die antiken Wandmalereien in Technischer Beziehung, von Otto Donner, Leipzig, 1868); those discovered after the publication of Helbig’s work and before 1880, by Sogliano, Le pitture murali Campane scoverte negli anni 1867-1879 (supplemento all’ opera dell’ Helbig, Naples, 1879. Published also in the volume, Pompei e la regione sotterrata dal Vesuvio, for which see p. 513); those that have come to light since 1879 are described by Mau in his reports (see note to Chap. IV) and in the Notizie degli scavi; cf. also Helbig, Untersuchungen über die campanische Wandmalerei (Leipzig, 1873). Besides the reproductions of paintings by Zahn and Niccolini mentioned above (p. 544), the more important examples are published in the Real Museo Borbonico (see Index at the end of vol. 16, pp. 37-58); Roux, Herculanum et Pompéi, vols. 1-5 (Paris, 1840); Rochette, Choix de peintures de Pompéi, la plupart de sujet historique (lithographiées en couleur par M. Roux, et publiées... par M. Raoul-Rochette; 7 livraisons in fol., Paris, 1844-1853, incomplete); Presuhn, Pompeji, Die neuesten Ausgrabungen von 1874 bis 1881 (Edit. 2, Leipzig, 1882; 80 chromolithograph plates); and in other works the titles of which are easily accessible in Furchheim’s Bibliografia. The colored plates presented by Niccolini, Arte Pompeiana Monumenti scelti (a selection of 55 plates from the larger work, Naples, 1888), give a false idea of the paintings reproduced.
No evidence of development in composition or technique [p. 471]: cf. Wickhoff, Roman Art, pp. 139 ff.
Hercules and Antaeus [p. 472]: Bull. dell’ Inst., 1876, p. 101; Sogliano, Le pitture murali Campane, no. 495.
Mosaic pictures on the floor [p. 472]: as in the house of the Faun; see references on p. 533. For the Pompeian mosaics in general, see Gli ornati delle pareti ed i pavimenti delle stanze dell’ antica Pompei, 3 vols. Naples, 1796-1808, vols. 1 and 2; Museo Borb., Index at the end of vol. 16, pp. 35-37; Roux, Herculanum et Pompéi, vol. 5 (latter part, 32 plates).
Group of Admetus and Alcestis in architectural framework [p. 473]: Sogliano, op. cit., no. 506.
Seafights [p. 474]: Helbig, Wandgemälde, nos. 1576-1580 (those of the Macellum are shown in a colored plate by Mazois, Les ruines de Pompéi, vol. 3, pl. 46); Röm. Mitth., vol. 11 (1896), p. 56, nos. 113-116, and Sogliano, Mon. dei Lincei, vol. 8 (1898), p. 310, fig. 33; cf. also Sogliano op. cit., nos. 669-670.
Xenia [p. 474]: Vitr. VI. VII (X) 4; Helbig, Wandegemälde, nos. 1661-1718. For fig. 266 cf. Museo Borb., vol. 6, pl. 38; Helbig, no. 1690.
Landscapes [p. 475]: Roux, Herculanum et Pompéi, vol. 3 (end; 30 plates); Helbig, Wandgemälde, pp. 385-394; Sogliano, op. cit., pp. 141-144.
Tadius, Ludius [p. 475]: Plin. N. H. XXXV. X. 116. In Mayhoff’s text (vol. 5, 1897) the name is given as Studius. Cf. Helbig, Beiträge zur Erklärung der campanischen Wandbilder. Rhein. Mus., vol. 25 (1870), pp. 393-407. Decoration of the villa at Prima Porta: Brunn, Scavi di Prima Porta, Bull. dell’ Inst., 1863, pp. 81-86; Antike Denkmäler des Kaiserlich deutschen Archäologischen Instituts, vol. 1 (1890), pl. 11, 24.
Group of musicians [p. 476]: Museo Borb., vol. 1, pl. 30; Helbig, Wandegemälde, no. 1442.
Paquius Proculus and his wife [p. 477]: Bull. dell’ Inst., 1868, p. 204; Sogliano, op. cit., no. 673.
Busts of youths with the names of Homer and Plato [pp. 477-478]: found in 1892 in the tablinum of the small house joined to the house of the Silver Wedding [fig. 146, δ]; reproduced, with fuller description, Röm. Mitth., vol. 8 (1893), pp. 19-23.
Paintings of Achilles in the house of Castor and Pollux [p. 478]: Helbig, Wandgemälde, nos. 1297, 1307.
Scenes of combat [p. 478]—Hercules, from Herculaneum: Pitture di Ercolano, vol. 3, pl. 47, p. 247; ibid., vol. 4, pl. 5, p. 27; and Museo Borb., vol. 11, pl. 9; Helbig, Wandgemälde, nos. 1124, 1125. Meleager and the boar: Fiorelli, Descrizione di Pompei, pp. 40, 382; Sogliano, op. cit., nos. 508, 509. Achilles and the fleeing Troilus: Bull. dell’ Inst., 1868, p. 37; Helbig, Wandgemälde, pp. 460-461; cf. also Sogliano, op. cit., no. 548. Combat between warrior and Amazon: Bull. dell’ Inst., 1871, p. 204; Sogliano, op. cit., no. 547, cf. also no. 548.
Io and Argus, Io in Egypt [p. 479]: Museo Borb., vol. 2, pl. 12, vol. 10, pl. 2; Roux, Herculanum et Pompéi, vol. 2, pl. 59; Helbig, Wandgemälde, nos. 131, 138. Cf. Braun, Elenco dei monumenti rappresentanti il mito di Io, Ann. dell’ Inst., vol. 10 (1838), pp. 328-330, and Mon. dell’ Inst., vol. 2, pl. 59.
Hecuba [p. 479]: Bull. dell’ Inst., 1877, p. 13; Mau, Ettore riportato a Troia, pittura paretaria di Pompei, Ann. dell’ Inst., vol. 49 (1877), pp. 268-279, and pl. O, P (colored, at the end of the volume); Sogliano, op. cit., no. 579.
Narcissus, Polyphemus, Apollo, and Admetus [pp. 479-480]: Helbig, Wandgemälde, nos. 1338-1367, Sogliano, op. cit., nos. 586-592; Helbig, nos. 220-222, 1048.
Idyllic pictures [p. 480]—Selene and Endymion: Helbig, Wandgemälde, nos. 950-962; Sogliano, op. cit., nos. 456-457. Paris and Oenone: Helbig, no. 1280. Perseus and Andromeda: Helbig, nos. 1192-1198. Bacchus and Ariadne: Helbig, nos. 1235-1240; Sogliano, no. 538; Röm. Mitth., vol. 11 (1896), pp. 52-53 (no. 98, house of the Vettii). Hercules and Omphale: Helbig, nos. 1136-1140; cf. Sogliano, nos. 496, 497.
Examples of a pathetic situation [p. 480]—Aphrodite and the wounded Adonis: Helbig, nos. 335-340; Sogliano, no. 142. Cyparissus: Sogliano, nos. 109, 110; Röm. Mitth., vol. 11 (1896), p. 19 (no. 36, with illustration, house of the Vettii). Europa and the bull: Sogliano, no. 79; cf. Helbig, nos. 123-130.
Groups with figures in contrast [p. 480]—Hephaestus and Thetis: Helbig, nos. 1316-1318 c. Daedalus and Pasiphaë: Helbig, nos. 1205-1208; Röm. Mitth., vol. 11, pp. 49-51 (with illustration, house of the Vettii). Danaë cast away: Helbig, nos. 119-121; Sogliano, nos. 76-78.
Paintings in groups [p. 481]: Trendelenburg, Gegenstücke in der Wandmalerei, Archäologische Zeitung, vol. 9 (1876), pp. 1-8, 79-93. Group of three paintings, Achilles: Bull. dell’ Inst., 1879, pp. 51-54 (Ins. IX. V. 2); Sogliano, nos. 572, 576, 577. Group of two, Polyphemus, Aphrodite fishing: Bull. dell’ Inst., 1876, pp. 49-50; Sogliano, nos. 146, 472 (Ins. VI. XIV. 28); Helbig, nos. 354, 1049 (house of Lucretius). Group of two, Europa and Pan: Sogliano, nos. 79, 196 (Ins. IX. V. 18). Double group, Hercules and Artemis, Athena and Marsyas: Röm. Mitth., vol. 5 (1890), pp. 263-269 (with illustrations), vol. 6 (1891), pp. 71-72 (Ins. V. II. 10).
CHAPTER LVI. MONUMENTAL INSCRIPTIONS AND PUBLIC NOTICES
Publication: in the notes to the preceding chapters references have been given to the place of publication of nearly all the monumental inscriptions, both Latin and Oscan; the Latin inscriptions on stone are classified C. I. L. X. 787-1079, with a supplementary collection, Ephem. Epigr., vol. 8, pp. 86-90 (nos. 311-332); cf. also Not. d. scavi, 1898, pp. 422-423. The Oscan inscriptions of all classes are published by Zvetaieff, Sylloge Inscriptionum Oscarum (with 19 plates of facsimiles; St. Petersburg and Leipzig, 1878); Inscriptiones Italiae inferioris mediae (with 11 plates; Moscow and Leipzig, 1886); von Planta, Grammatik der Oskisch-Umbrischen Dialekte (2 vols., Strassburg, 1892, 1897), vol. 2, pp. 499-510 (nos. 28-116); Conway, The Italic Dialects (2 vols., London, 1897), vol. 2, pp. 54-81 (nos. 39-86). The public notices are collected in C. I. L. IV. pp. 1-75 (nos. 1-1204), pp. XVI-XVII (nos. 3256-3296), and the Supplement, pt. 2, which is in press, pp. 467-499 (nos. 3341-3884).
House of Aemilius Celer [p. 486]: Mau, Röm. Mitth., vol. 4 (1889), pp. 118-119.
Notices to rent—insula of Nigidius Maius [p. 489]: C. I. L. IV. 138. Property of Julia Felix [p. 490]: ibid., 1136.
Offer of reward [p. 490]: C. I. L. IV. 64.
CHAPTER LVII. THE GRAFFITI
Publication: the graffiti are collected, C. I. L. IV. pp. 76-166 (nos. 1205-2549 c), pp. XVII-XVIII (nos. 3297-3339), and Suppl., pt. 2, pp. 499-599 (nos. 3885 et seq.). Cf. Correra, Graffiti di Roma, Bull. com., 1893, pp. 245-260, 1894, pp. 89-100, and pls. II-VI, 1895, pp. 193-216.
Admiror, paries [p. 491]: found in the Large Theatre, the Amphitheatre, and the Basilica; C. I. L. IV. 1904, 2461, 2487; Bull. dell’ Inst., 1867, pp. 50-53; Bull. com., 1894, p. 99; Buecheler, Carmina Latina epigraphica, no. 957 (vol. 1, Leipzig, 1895), p. 440. References to writing on walls in ancient authors: Plin. Epist. VIII. VIII. 7; Mart. Ep. XII. LXI. 7-10; Cic. In Verr. III. XXXIII. 77. Metrical graffiti: Buecheler, Die metrischen Wandinschriften, Rhein. Mus., vol. 12 (1857), pp. 250-260.
Graffiti relating to the conflict in the Amphitheatre [p. 492]: see references on pp. 529-530.
Praetorian guard [p. 492]: C. I. L. IV. 1994.
Lovers’ messages [p. 495]—Victoria: C. I. L. IV. 1477. Cestilia: ibid., 2413 h. Pupa: ibid., 1234; Buecheler, no. 232. Serena: Bull. dell’ Inst., 1874, p. 269; C. I. L. IV. Suppl. 3928-3930. Si quid amor: Not. d. scavi, 1883, p. 53; Buecheler, no. 935.
Lovers’ complaints [p. 496]: Tu, dea: C. I. L. IV. 2310 k. Quoted couplets joined: ibid., 1893, 1894. Threat against Venus: ibid., 1824; Röm. Mitth., vol. 8 (1893), p. 59 (no. 29); Buecheler, no. 947.
Greeting of Hirtia Psacas [p. 497]. Bull. dell’ Inst., 1894, p. 201; C. I. L. IV. Suppl. 3905.
Catchwords, quotations, proverbs [p. 498]: Verg. Aen. I. 1: C. I. L. IV. 1282, 2361, 3198. Aen. II. 1: ibid., 2213, and often; Röm. Mitth., vol. 8 (1893), p. 57.5 Lucr. I. 1: C. I. L. IV. 3072. Minimum malum: ibid., 1811, 1870. Moram si quaeres: ibid., 2069.
CHAPTER LVIII. INSCRIPTIONS RELATING TO BUSINESS AFFAIRS
Tablets of Caecilius Jucundus [p. 499 et seq.]: edited by Zangemeister, C. I. L. IV. Suppl. fasc. 1 (1898); first published by de Petra, Le tavolette cerate di Pompei rinvenute a’ 3 e 5 Luglio, 1875 (Rome, 1876), also in Atti della R. Accademia dei Lincei, ser. 2, vol. 3, pp. 3, 150-230; cf. Mommsen, Die Pompeianischen Quittungstafeln des L. Caecilius Iucundus, Hermes, vol. 12 (1879), pp. 88-141; Mommsen, Pompeianische Geschäftsurkunden, Hermes, vol. 23 (1888), pp. 157-159; Bruns, Fontes iuris Romani antiqui (Edit. 6, 1893), pp. 291-293, 314-320.
Of interest in this connection are the remains of wax tablets found in the gold mines near Verespatak (ancient Alburnus Maior) in Transylvania (C. I. L. III. pp. 921-960), and the records of transactions found on papyri of the Roman period in Egypt (cf., e.g., Schulten, Ein römischer Kaufvertrag auf Papyrus aus dem Jahre 166 n. Chr., Hermes, vol. 32, 1897, pp. 273-289).
Tablet A [p. 502]: C. I. L. IV. Suppl. 3340, XXV; de Petra, no. 15.
Tablet B [p. 504]: C. I. L. IV. Suppl. 3340, CXLVII; de Petra, no. 124.
Inscriptions on amphorae [p. 505]—ex fundo Badiano: C. I. L. IV. 2551. Estate uncertain: C. I. L. IV. 2552 (names of the consuls incorrectly given). fundus Satrianus, fundus Asinianus: Mau, Röm. Mitth., vol. 11 (1896), p. 96; Not. d. scavi, 1895, p. 33.
Brands of wine [pp. 505-506]—Cnidium: Röm. Mitth., vol. 13 (1898), p. 40. Coum: C. I. L. IV. 2565. Λύττιος: Röm. Mitth., vol. 8 (1893), p. 60. Λευκουνάριον: Bull. dell’ Inst., 1874, p. 264.
Gustaticium [p. 506]: Röm. Mitth., vol. 11 (1896), p. 96.
Edibles [p. 506]—Oliva alba dulce: C. I. L. IV. 2610. Lomentum: ibid., 2597. g. f.: ibid., 2576. Liquamen: ibid., see Index, p. 243; Röm. Mitth., vol. 13 (1898), p. 30.
Names of proprietor, consignor, consignee [p. 507]—M. Caesius Celer: C. I. L. IV. Suppl. Virnius Modestus: Not. d. Scavi, 1881, p. 195. Caecilius Jucundus: Bull. dell’ Inst., 1876, p. 24. Caecili Iucundi: C. I. L. IV. Suppl. 3433.
Inscriptions of the Boscoreale treasure [p. 507]: published in facsimile by Héron de Villefosse, Le trésor de Boscoreale; see pp. 42 et seq.
Inscription of the Alexandria patera [p. 507]:
PHI·ET·EMB·P·P·IIS𐆐𐆐℈VI. PHI·P·P·II𐆐𐆒 · EMB·P·P·S𐆑𐆒
Stamps [p. 508]: for the stamped and other permanent inscriptions on tiles, lamps, amphorae, and different kinds of terra-cotta vessels found at Pompeii, as well as the stamps and seals, see the second part of C. I. L. X., under Instrumentum Domesticum.
Footnotes
1 The original drawings are based upon sketches by Professor Mau. The drawings marked with an asterisk are in the collection of the German Archaeological Institute in Rome.
2 It seems strange that traces of other buildings of the same period have not been discovered; but, on the other hand, it is far from probable that the temple was first erected, and that the city afterward grew up around it, for in that case the temple must have been placed further west, on the highest point of the elevation, overlooking the sea.
3 O · Kamp[aniìs... kva]ISSTUR · KOMBENNI[eìs tanginud] · Apelluneìs eìtiu[vad... ops]ANNU · AAMAN[aff]ED.
4 An extensive collection of titles relating to Pompeii and Vesuvius is given by F. Furchheim, Bibliografia di Pompei, Erculano e Stabia (Edit. 2, Naples, 1891) and Bibliografia del Vesuvio (Naples, 1897).
In the Bibliographical Appendix figures in brackets refer to the pages of this book. The following abbreviations are employed:—
Ann. dell’ Inst. = Annali dell’ Instituto di corrispondenza archeologica (57 vols., Rome, 1829-1885).
Bull. com. = Bullettino della commissione archeologica communale di Roma (vols. 1-19, Rome, 1872-1901).
Bull, dell’ Inst. = Bullettino dell’ Instituto di corrispondenza archeologica (Rome, 1829-1885).
C. I. L. = Corpus inscriptionum Latinarum (Berlin, 1863 ff.).
Ephem. Epigr. = Ephemeris Epigraphica, corporis inscriptionum Latinarum supplementum (vols. 1-8, Berlin, 1872-1899).
Jahrb. des Inst. = Jahrbuch des Kaiserlich deutschen archäologischen Instituts (vols. 1-16, Berlin, 1885-1901).
Mon. dei Lincei = Monumenti Antichi pubblicati per cura della Reale Accademia dei Lincei (Milano, vols. 1-10, 1892-1901).
Mon. dell’ Inst. = Monumenti inediti pubblicati dall’ Instituto di corrispondenza archeologica (12 vols. and Supplements, Rome and Berlin, 1829-1891).
Museo Borb. = Real Museo Borbonico (16 vols., Naples, 1824-1857).
Not. d. scavi = Notizie degli scavi di antichità (Rome and Milan, 1876-1901).
Pomp. ant. hist. = Pompeianarum antiquitatum historia quam... collegit... Ios. Fiorelli (3 vols., Naples, 1860, 1862, 1864).
Rhein. Mus. = Rheinisches Museum für Philologie (vols. 1-56, Frankfurt, 1842-1901).
Röm. Mitth. = Mittheilungen des Kaiserlich deutschen archäologischen Instituts, Römische Abtheilung (vols. 1-16, Rome, 1886-1901).
5 “Virgil’s words, ‘Then were all silent,’ look strangely in a half-finished scrawl from a wall of Pompeii’s hushed and solitary homes.”—Myers, Essays Classical (London, 1897), p. 149.