Produced by Melissa McDaniel and the Online Distributed Proofreading Team at http://www.pgdp.net (This file was produced from images generously made available by The Internet Archive) Transcriber's Note: Inconsistent hyphenation and spelling in the original document have been preserved. Obvious typographical errors have been corrected. Italic text is denoted by _underscores_ and spaced text by =equal signs=. In the ads, an = sign denotes bold text. On page 431, 1854 should possibly be 1845. On page 533, the page number referenced is missing on the first Chapter XXXV citation. On page 544, the pages listed as pp 226-223 are possibly a typo. [=HS] represents the characters HS with a bar over the top. [*] represents the Roman Denarius sign: ð. [E] represents the Roman symbol for 2 oz., two stacked "c"s. â represents the Roman numeral 1000, usually represented as â. \B and \F represent VB and VF ligatures. In Figure 54 and the subsequent text, letters indicated by ~A~ represent small capital letters. POMPEII ITS LIFE AND ART [Illustration: PLATE I.--VIEW OF THE FORUM, LOOKING TOWARD VESUVIUS] POMPEII ITS LIFE AND ART BY AUGUST MAU GERMAN ARCHAEOLOGICAL INSTITUTE IN ROME Translated into English BY FRANCIS W. KELSEY UNIVERSITY OF MICHIGAN _WITH NUMEROUS ILLUSTRATIONS FROM ORIGINAL DRAWINGS AND PHOTOGRAPHS_ NEW EDITION, REVISED AND CORRECTED New York THE MACMILLAN COMPANY LONDON: MACMILLAN & CO., LTD. 1902 _All rights reserved_ COPYRIGHT, 1899, 1902, BY FRANCIS W. KELSEY. First Edition, October, 1899. New Revised Edition, with additions, November, 1902. Norwood Press J. S. Cushing & Co.--Berwick & Smith Norwood Mass. U.S.A. PREFACE TO THE FIRST EDITION For twenty-five years Professor Mau has devoted himself to the study of Pompeii, spending his summers among the ruins and his winters in Rome, working up the new material. He holds a unique place among the scholars who have given attention to Pompeian antiquities, and his contributions to the literature of the subject have been numerous in both German and Italian. The present volume, however, is not a translation of one previously issued, but a new work first published in English, the liberality of the publishers having made it possible to secure assistance for the preparation of certain restorations and other drawings which Professor Mau desired to have made as illustrating his interpretation of the ruins. In one respect there is an essential difference between the remains of Pompeii and those of the large and famous cities of antiquity, as Rome or Athens, which have associated with them the familiar names of historical characters. Mars' Hill is clothed with human interest, if for no other reason, because of its relation to the work of the Apostle Paul; while the Roman Forum and the Palatine, barren as they seem to-day, teem with life as there rise before the mind's eye the scenes presented in the pages of classical writers. But the Campanian city played an unimportant part in contemporary history; the name of not a single great Pompeian is recorded. The ruins, deprived of the interest arising from historical associations, must be interpreted with little help from literary sources, and repeopled with aggregate rather than individual life. A few Pompeians, whose features have survived in herms or statues and whose names are known from the inscriptions, seem near to us,--such are Caecilius Jucundus and the generous priestess Eumachia; but the characters most commonly associated with the city are those of fiction. Here, in a greater degree than in most places, the work of reconstruction involves the handling of countless bits of evidence, which, when viewed by themselves, often seem too minute to be of importance; the blending of these into a complete and faithful picture is a task of infinite painstaking, the difficulty of which will best be appreciated by one who has worked in this field. It was at first proposed to place at the end of the book a series of bibliographical notes on the different chapters, giving references to the more important treatises and articles dealing with the matters presented. But on fuller consideration it seemed unnecessary thus to add to the bulk of the volume; those who are interested in the study of a particular building or aspect of Pompeian culture will naturally turn to the _Pompeianarum antiquitatum historia_, the reports in the _Notizie degli Scavi_, the reports and articles by Professor Mau in the Roman _Mittheilungen_ of the German Archaeological Institute, the Overbeck-Mau _Pompeji_, the Studies by Mau and by Nissen, the commemorative volume issued in 1879 under the title _Pompei e la regione sotterrata dal Vesuvio_, the catalogues of the paintings by Helbig and Sogliano, together with Mau's _Geschichte der decorativen Wandmalerei in Pompeji_, H. von Rohden's _Terracotten von Pompeji_, and the older illustrated works, as well as the beautiful volume, _Pompeji vor der Zerstoerung_, published in 1897 by Weichardt. The titles of more than five hundred books and pamphlets relating to Pompeii are given in Furchheim's _Bibliografia di Pompei_ (second edition, Naples, 1891). To this list should be added an elaborate work on the temple of Isis, _Aedis Isidis Pompeiana_, which is soon to appear. The copperplates for the engravings were prepared at the expense of the old Accademia ercolanese, but only the first section of the work was published; the plates, fortunately, have been preserved without injury, and the publication has at last been undertaken by Professor Sogliano. Professor Mau wishes to make grateful acknowledgment of obligation to Messrs. C. Bazzani, R. Koldewey, G. Randanini, and G. Tognetti for kind assistance in making ready for the engraver the drawings presenting restorations of buildings; to the authorities of the German Archaeological Institute for freely granting the use of a number of drawings in its collection; and to the photographer, Giacomo Brogi of Florence, for placing his collection of photographs at the author's disposal and making special prints for the use of the engraver. In addition to the photographs obtained from Brogi, a small number were furnished for the volume by the translator, and a few were derived from other sources. The restorations are not fanciful. They were made with the help of careful measurements and of computations based upon the existing remains; occasionally also evidence derived from reliefs and wall paintings was utilized. Uncertain details are generally omitted. It is due to Professor Mau to say that in preparing his manuscript for English readers I have, with his permission, made some changes. The order of presentation has occasionally been altered. In several chapters the German manuscript has been abridged, while in others, containing points in regard to which English readers might desire a somewhat fuller statement, I have made slight additions. The preparation of the English form of the volume, undertaken for reasons of friendship, has been less a task than a pleasure. FRANCIS W. KELSEY. ANN ARBOR, MICHIGAN, October 25, 1899. PREFACE TO THE SECOND EDITION The author and the translator unite in expressing their deep appreciation of the kind reception accorded to the first edition of this book. The second edition has been revised on the spot. Besides minor additions, it has been enlarged by a chapter on the recently discovered temple of Venus Pompeiana, and a Bibliographical Appendix; prepared in response to requests from various quarters. Among the new illustrations in the text are a restoration of the temple of Vespasian and a reproduction of the bronze youth found in 1900, besides the Alexandria patera and one of the skeleton cups from the Boscoreale treasure; in Plate VIII are presented two additional paintings from the house of the Vettii. The translator is alone responsible for Chapter LIX, which was prepared for the first edition at Professor Mau's request, at a time when he was pressed with other work; for the paragraphs in regard to the treasure of Boscoreale, and for one-half of the references in the Bibliographical Appendix. AUGUST MAU FRANCIS W. KELSEY ALBERGO DEL SOLE, POMPEI August 2, 1901 CONTENTS INTRODUCTION CHAPTER PAGE I. THE SITUATION OF POMPEII 1 II. BEFORE 79 8 III. THE CITY OVERWHELMED 19 IV. THE UNEARTHING OF THE CITY 25 V. A BIRD'S-EYE VIEW 31 VI. BUILDING MATERIALS, CONSTRUCTION, AND ARCHITECTURAL PERIODS 35 PART I PUBLIC PLACES AND BUILDINGS VII. THE FORUM 45 VIII. GENERAL VIEW OF THE BUILDINGS ABOUT THE FORUM.--THE TEMPLE OF JUPITER 61 IX. THE BASILICA 70 X. THE TEMPLE OF APOLLO 80 XI. THE BUILDINGS AT THE NORTHWEST CORNER OF THE FORUM, AND THE TABLE OF STANDARD MEASURES 91 XII. THE MACELLUM 94 XIII. THE SANCTUARY OF THE CITY LARES 102 XIV. THE TEMPLE OF VESPASIAN 106 XV. THE BUILDING OF EUMACHIA 110 XVI. THE COMITIUM 119 XVII. THE MUNICIPAL BUILDINGS 121 XVIII. THE TEMPLE OF VENUS POMPEIANA 124 XIX. THE TEMPLE OF FORTUNA AUGUSTA 130 XX. GENERAL VIEW OF THE PUBLIC BUILDINGS NEAR THE STABIAN GATE.--THE FORUM TRIANGULARE AND THE DORIC TEMPLE 133 XXI. THE LARGE THEATRE 141 XXII. THE SMALL THEATRE 153 XXIII. THE THEATRE COLONNADE USED AS BARRACKS FOR GLADIATORS 157 XXIV. THE PALAESTRA 165 XXV. THE TEMPLE OF ISIS 168 XXVI. THE TEMPLE OF ZEUS MILICHIUS 183 XXVII. THE BATHS AT POMPEII.--THE STABIAN BATHS 186 XXVIII. THE BATHS NEAR THE FORUM 202 XXIX. THE CENTRAL BATHS 208 XXX. THE AMPHITHEATRE 212 XXXI. STREETS, WATER SYSTEM, AND WAYSIDE SHRINES 227 XXXII. THE DEFENCES OF THE CITY 237 PART II THE HOUSES XXXIII. THE POMPEIAN HOUSE 245 I. Vestibule, Fauces, and Front Door 248 II. The Atrium 250 III. The Tablinum 255 IV. The Alae 258 V. The Rooms about the Atrium. The Andron 259 VI. Garden, Peristyle, and Rooms about the Peristyle 260 VII. Sleeping Rooms 261 VIII. Dining Rooms 262 IX. The Kitchen, the Bath, and the Storerooms 266 X. The Shrine of the Household Gods 268 XI. Second Story Rooms 273 XII. The Shops 276 XIII. Walls, Floors, and Windows 278 XXXIV. THE HOUSE OF THE SURGEON 280 XXXV. THE HOUSE OF SALLUST 283 XXXVI. THE HOUSE OF THE FAUN 288 XXXVII. A HOUSE NEAR THE PORTA MARINA 298 XXXVIII. THE HOUSE OF THE SILVER WEDDING 301 XXXIX. THE HOUSE OF EPIDIUS RUFUS 309 XL. THE HOUSE OF THE TRAGIC POET 313 XLI. THE HOUSE OF THE VETTII 321 XLII. THREE HOUSES OF UNUSUAL PLAN 341 I. The House of Acceptus and Euhodia 341 II. A House without a Compluvium 343 III. The House of the Emperor Joseph II 344 XLIII. OTHER NOTEWORTHY HOUSES 348 XLIV. ROMAN VILLAS.--THE VILLA OF DIOMEDES 355 XLV. THE VILLA RUSTICA AT BOSCOREALE 361 XLVI. HOUSEHOLD FURNITURE 367 PART III TRADES AND OCCUPATIONS XLVII. THE TRADES AT POMPEII.--THE BAKERS 383 XLVIII. THE FULLERS AND THE TANNERS 393 XLIX. INNS AND WINESHOPS 400 PART IV THE TOMBS L. POMPEIAN BURIAL PLACES.--THE STREET OF TOMBS 405 LI. BURIAL PLACES NEAR THE NOLA, STABIAN, AND NOCERA GATES 429 PART V POMPEIAN ART LII. ARCHITECTURE 437 LIII. SCULPTURE 445 LIV. PAINTING.--WALL DECORATION 456 LV. THE PAINTINGS 471 PART VI THE INSCRIPTIONS OF POMPEII LVI. IMPORTANCE OF THE INSCRIPTIONS.--MONUMENTAL INSCRIPTIONS AND PUBLIC NOTICES 485 LVII. THE GRAFFITI 491 LVIII. INSCRIPTIONS RELATING TO BUSINESS AFFAIRS 499 CONCLUSION LIX. THE SIGNIFICANCE OF THE POMPEIAN CULTURE 509 BIBLIOGRAPHICAL APPENDIX 512 INDEX 551 KEY TO THE PLAN OF POMPEII 559 ILLUSTRATIONS PLATES PLATE I. VIEW OF THE FORUM, LOOKING TOWARD VESUVIUS. From a photograph _Frontispiece_ FACING PAGE II. COURT OF THE TEMPLE OF APOLLO. From a photograph 88 III. THE GREEK TEMPLE AND THE FORUM TRIANGULARE, SEEN FROM THE SOUTH. Restoration (Weichardt, _Pompeji vor der ZerstÃ¶rung_, Tafel II) 134 IV. THE BARRACKS OF THE GLADIATORS. From a photograph 160 V. STABIAN BATHS: MEN'S APODYTERIUM, WITH THE ANTEROOM LEADING FROM THE PALAESTRA. From a photograph 188 VI. INTERIOR OF THE AMPHITHEATRE, LOOKING NORTHWEST. From a photograph 216 VII. INTERIOR OF A HOUSE (IX. v. 11), LOOKING FROM THE MIDDLE OF THE ATRIUM INTO THE PERISTYLE. From a photograph 260 VIII. TWO WALL PAINTINGS IN THE HOUSE OF THE VETTII --APOLLO AFTER THE SLAYING OF THE DRAGON, AND AGAMEMNON IN THE SANCTUARY OF ARTEMIS. From photographs 328 IX. A DINING ROOM IN THE HOUSE OF THE VETTII. From a photograph 338 X. THE STREET OF TOMBS, LOOKING TOWARD THE HERCULANEUM GATE. From a photograph 420 XI. ARTEMIS. Copy of an Archaic Work. From a photograph 444 XII. SPECIMEN OF WALL DECORATION. Second or Architectural Style (Mau, _Geschichte der decorativen Wandmalerei in Pompeji_, Tafel V) 462 XIII. SPECIMEN OF WALL DECORATION, IN THE COURT OF THE STABIAN BATHS. Fourth or Intricate Style. From a drawing in the Naples Museum 470 PLANS PLAN I. OUTLINE PLAN OF POMPEII preceding Chap. V II. THE FORUM, WITH ADJOINING BUILDINGS " " VII III. THE FORUM TRIANGULARE, WITH ADJACENT BUILDINGS " " XX IV. THE VILLA RUSTICA NEAR BOSCOREALE " " XLV V. THE STREET OF TOMBS " " L VI. THE EXCAVATED PORTION OF POMPEII following the Index ILLUSTRATIONS IN THE TEXT FIGURE PAGE 1. Map of Ancient Campania 2 2. Vesuvius as seen from Naples. From a photograph 3 3. View from Pompeii, looking south. From a photograph (A. M.) 5 4. Venus Pompeiana. Wall painting. House of Castor and Pollux. After _Monumenti dell' Instituto_, Vol. III, pl. vi. _b_ 12 5. An amphora from Boscoreale. Collection of Classical Antiquities, University of Michigan. From a drawing 15 6. The Judgment of Solomon. Wall painting. Naples Museum. From a photograph 17 7. Cast of a man. Museum at Pompeii. From a photograph 22 8. An Excavation. Atrium of the house of the Silver Wedding. From a photograph 28 9. Wall with limestone framework (Ins. VII. iii. 13). From a photograph (F. W. K.) 37 10. FaÃ§ade of Sarno limestone, house of the Surgeon. From a photograph 39 11. Quasi-reticulate facing, with brick corner, at the entrance of the Small Theatre. From a photograph 42 12. Reticulate facing, with corners of brick-shaped stone (I. iii. 29). From a photograph (F. W. K.) 43 13. North end of the Forum, with the temple of Jupiter, restored. From an original drawing[1] 49 14. Remnant of the colonnade of Popidius, at the south end of the Forum. From a photograph (A. M.) 51 15. Part of the new colonnade, near the southwest corner of the Forum. From a photograph (A. M.) 53 16. Scene in the Forum--a dealer in utensils, and a shoemaker. Wall painting. Naples Museum. After _Pitture di Ercolano_, Vol. III, pl. 42 55 17. Scene in the Forum--citizens reading a public notice. Wall painting. Naples Museum. After _Pitture di Ercolano_, Vol. III, pl. 43 56 18. Plan of the temple of Jupiter 63 19. Ruins of the temple of Jupiter. From a photograph 64 20. Section of wall decoration in the cella of the temple of Jupiter. After Mazois, _Les Ruines de PompÃ©i_, Vol. III, pl. 36 (Overbeck-Mau, _Pompeji_, Fig. 46) 65 21. Bust of Zeus found at Otricoli. Vatican Museum. After Tafel 130 of the Brunn-Bruckmann Denkmaeler 68 22. Bust of Jupiter found at Pompeii. Naples Museum. From a photograph 69 23. Plan of the Basilica 71 24. View of the Basilica, looking toward the tribunal. From a photograph 73 25. Exterior of the Basilica, restored. From an original drawing 75 26. Interior of the Basilica, looking toward the tribunal, restored. From an original drawing 76 27. Front of the tribunal of the Basilica. Plan and elevation. From an original drawing 77 28. Corner of mosaic floor, cella of the temple of Apollo. After Mazois, Vol. IV, pl. 23 (Overbeck-Mau, Fig. 50) 80 29. Plan of the temple of Apollo 81 30. View of the temple of Apollo, looking toward Vesuvius. From a photograph 83 31. Section of the entablature of the temple of Apollo, showing the original form and the restoration after the earthquake of 63. After Mazois, Vol. IV, pl. 21 (Overbeck-Mau, Fig. 264) 84 32. Temple of Apollo, restored. From an original drawing 86 33. Plan of the buildings at the northwest corner of the Forum 91 34. Table of Standard Measures. After Mazois, Vol. III, pl. 40 (Overbeck-Mau, Fig. 23) 93 35. Plan of the Macellum 94 36. View of the Macellum. From a photograph 95 37. The Macellum, restored. From an original drawing 97 38. Statue of Octavia, sister of Augustus, found in the chapel of the Macellum. Naples Museum. From a photograph 98 39. Statue of Marcellus, son of Octavia, found in the chapel of the Macellum. Naples Museum. From a photograph 101 40. Plan of the sanctuary of the City Lares 102 41. Sanctuary of the City Lares, looking toward the rear, restored. From an original drawing.* (Cf. _RÃ¶m. Mitth._, 1896, p. 288) 103 42. North side of the sanctuary of the City Lares, restored. From an original drawing.* (Cf. _RÃ¶m. Mitth._, 1896, p. 289) 104 43. Plan of the temple of Vespasian 106 44. Front of the altar in the court of the temple of Vespasian. From a photograph 107 45. View of the temple of Vespasian. From a photograph 108 46. The temple of Vespasian, restored. From an original drawing.* (Cf. _RÃ¶m. Mitth._, 1900, p. 133) 109 47. Plan of the building of Eumachia 110 48. Building of Eumachia--front of the court, restored. From an original drawing 114 49. Building of Eumachia--rear of the court, restored. From an original drawing 116 50. Fountain of Concordia Augusta. From a photograph (F. W. K.) 117 51. Plan of the Comitium 119 52. Plan of the Municipal Buildings 121 53. View of the south end of the Forum. From a photograph (A. M.) 122 54. Plan of the ruins of the temple of Venus Pompeiana* 125 55. View of the ruins of the temple of Venus Pompeiana. From a photograph 126 56. Plan of the temple of Venus Pompeiana, restored* 128 57. Plan of the temple of Fortuna Augusta* 130 58. Temple of Fortuna Augusta, restored. From an original drawing 131 59. Temple of Fortuna Augusta--rear of the cella with the statue of the goddess, restored. From an original drawing.* (Cf. _RÃ¶m. Mitth._, 1896, p. 280) 132 60. Portico at the entrance of the Forum Triangulare. From a photograph 135 61. View of the Forum Triangulare, looking toward Vesuvius. From a photograph 136 62. Plan of the Doric temple in the Forum Triangulare 137 63. The Doric temple, restored. From an original drawing 138 64. Plan of the Large Theatre 143 65. View of the Large Theatre. From a photograph 145 66. Plan of the Small Theatre 153 67. View of the Small Theatre. From a photograph 154 68. Section of a seat in the Small Theatre. After Mazois, Vol. IV, pl. 29 (Overbeck-Mau, Fig. 101) 155 69. A terminal Atlas from the Small Theatre. After Mazois, Vol. IV, pl. 29 (Overbeck-Mau, Fig. 100) 156 70. Ornament at the ends of the parapet in the Small Theatre--lion's foot. After Mazois, Vol. IV, pl. 29 (Overbeck-Mau, Fig. 99) 156 71. Plan of the Theatre Colonnade, showing its relation to the two theatres 157 72. A gladiator's greave. Naples Museum. From a photograph 162 73. A gladiator's helmet. Naples Museum. From a photograph 163 74. Remains of stocks found in the guard-room of the barracks. Naples Museum. From a photograph 163 75. Plan of the Palaestra 165 76. View of the Palaestra, with the pedestal, table, and steps. From a photograph 166 77. Doryphorus. Statue found in the Palaestra. Naples Museum. From a photograph 167 78. Plan of the temple of Isis 170 79. View of the temple of Isis. From a photograph 172 80. The temple of Isis, restored. From an original drawing 173 81. Scene from the worship of Isis--the adoration of the holy water. Wall painting from Herculaneum. Naples Museum. Drawing, after a photograph 177 82. Temple of Isis. Part of the faÃ§ade of the Purgatorium. After Mazois, Vol. IV, pl. 11, and Piranesi, _AntiquitÃ©s de PompÃ©i_ Vol. II, pl. 65 179 83. Decoration of the east side of the Purgatorium--Perseus and Andromeda, floating Cupids. Stucco reliefs. After Mazois, Vol. IV, pl. 10 180 84. Plan of the temple of Zeus Milichius 183 85. Capital of a pilaster of the temple, with the face of Zeus Milichius. After Mazois, Vol. IV, pl. 6 (Overbeck-Mau, Fig. 62) 184 86. Plan of the Stabian Baths 190 87. Stabian Baths--interior of Frigidarium. Drawing, with indebtedness to Niccolini, _Le Case ed i Monumenti di Pompei_, Vol. I, _Terme presso la porta stabiana_, pl. 7 191 88. Bath basin in the women's caldarium--longitudinal and transverse sections, showing arrangements for heating. Drawing, with indebtedness to von Duhn und Jacobi, _Der griechische Tempel in Pompeji_, pl. IX 194 89. Colonnade of the Stabian Baths--capital with section of entablature. Drawing 198 90. Southwest corner of the palaestra of the Stabian Baths, showing part of the colonnade and wall decorated with stucco reliefs. From a photograph 199 91. Plan of the Baths near the Forum 202 92. Baths near the Forum--Interior of men's tepidarium. From a photograph 204 93. Baths near the Forum--Longitudinal section of the men's caldarium. Drawing, after Gell, _Pompeiana_, edit. of 1837, Vol. II, pl. 33, facing p. 91 205 94. Plan of the Central Baths 209 95. View of the Central Baths, looking from the Palaestra into the tepidarium. From a photograph (F. W. K.) 210 96. The Amphitheatre, seen from the west side. From a photograph 213 97. Preparations for the combat. Wall painting (no longer visible) in the Amphitheatre. After Mazois, Vol. IV, pl. 48 (Overbeck-Mau, Fig. 107) 214 98. Plan of the Amphitheatre 215 99. Transverse section of the Amphitheatre. After Mazois, Vol. IV, pl. 46 (Overbeck-Mau, Fig. 104) 217 100. Plan of the gallery of the Amphitheatre 218 101. Conflict between the Pompeians and the Nucerians. Wall painting. Naples Museum. After Overbeck-Mau, Fig. 3 221 102. View of Abbondanza Street, looking east. From a photograph 227 103. Fountain, water tower, and street shrine, corner of Stabian and Nola streets. From a photograph (F. W. K.) 231 104. Plan of the reservoir west of the Baths near the Forum 232 105. Ancient altar in new wall--southeast corner of the Central Baths. From a photograph (F. W. K.) 234 106. Plan of a chapel of the Lares Compitales (VIII. iv. 24) 235 107. Large street altar (VIII. ii. 25). From a photograph (F. W. K.) 236 108. Plan of a section of the city wall, with a tower and with stairs leading to the top. After Mazois, Vol. I. pl. 12 (Overbeck-Mau, Fig. 7) 238 109. View of the city wall, inside. From a photograph 239 110. Tower of the city wall, restored. After Mazois, Vol. I, pl. 13 (Overbeck-Mau, Fig. 8) 241 111. Plan of the Stabian Gate 242 112. Plan of the Herculaneum Gate 243 113. View of the Herculaneum Gate, looking down the Street of Tombs. From a photograph 244 114. Early Pompeian house, restored. From an original drawing 246 115. Plan of a Pompeian house 247 116. Plan and section of the vestibule, threshold, and fauces of the house of Pansa. After Ivanoff, _Mon. dell' Inst._, Vol. VI, pl. 28, 3 (Overbeck-Mau, Fig. 136) 249 117. A Tuscan atrium--plan of the roof. After Mazois, Vol. II, pl. 3 (Overbeck Mau, Fig. 139) 251 118. A Tuscan atrium--section. After Mazois, Vol. II, pl. 3 (Overbeck-Mau, Fig. 140) 252 119. Corner of a compluvium with waterspouts and antefixes, reconstructed. (Reconstruction, Ins. VII. iv. 16.) After Overbeck-Mau, Fig. 143 253 120. A Pompeian's strong box, arca. Naples Museum. From photograph 255 121. Atrium of the house of Cornelius Rufus, looking through the tablinum and andron into the peristyle. From a photograph 256 122. End of a bedroom in the house of the Centaur, decorated in the first style. From an original drawing 262 123. Plan of a dining room with three couches 263 124. Plan of a dining room with an anteroom containing an altar for libations (VIII. v.-vi. 16) 264 125. Hearth of the kitchen in the house of the Vettii. From a drawing 267 126. Niche for the images of the household gods, in a corner of the kitchen in the house of Apollo. From a photograph (F. W. K.) 269 127. Shrine in the house of the Vettii. From a photograph 271 128. Interior of a house (VII. xv. 8) with a second story dining room opening on the atrium, restored. From an original drawing 274 129. Longitudinal section of the house with a second story dining room (VII. xv. 8) restored. From an original drawing 275 130. Plan of a Pompeian shop. After Mazois, Vol. II, pl. 8 (Overbeck-Mau, Fig. 182) 276 131. A shop for the sale of edibles, restored. After Mazois, Vol. II, pl. 8 (Overbeck-Mau, Fig. 183) 277 132. Plan of the house of the Surgeon 280 133. A young woman painting a herm. Wall painting from the house of the Surgeon. Naples Museum. After _Pitture di Ercolano_, Vol. V, pl. 1 282 134. Plan of the house of Sallust. After Mazois, Vol. II, pl. 35 (Overbeck-Mau, Fig. 165) 284 135. Atrium of the house of Sallust, looking through the tablinum and colonnade at the rear into the garden, restored. From an original drawing 286 136. Longitudinal section of the house of Sallust, restored. From an original drawing 287 137. Plan of the house of the Faun 288 138. Part of the cornice over the large front door of the house of the Faun. From an original drawing 289 139. FaÃ§ade of the house of the Faun, restored. From an original drawing 290 140. Border of mosaic with tragic masks, fruits, flowers, and garlands, at the inner end of the fauces, house of the Faun. Naples Museum. After _Museo Borb._, Vol. IV, pl. 14 (Overbeck-Mau, Fig. 315) 290 141. Longitudinal section of the house of the Faun, showing the large atrium, the first peristyle, and a corner of the second peristyle, restored. From an original drawing 292 142. Detail from the mosaic representing the battle between Alexander and Darius. From a photograph 294 143. Transverse section of the house of the Faun, showing the two atriums with adjoining rooms, restored. From an original drawing 296 144. Plan of a house near the Porta Marina (VI. INS. OCCID. 13) 298 145. Longitudinal section of the house near the Porta Marina, restored. From an original drawing 299 146. Plan of the house of the Silver Wedding 302 147. Longitudinal section of the house of the Silver Wedding, restored. From an original drawing 304 148. Transverse section of the house of the Silver Wedding, as it was before 63. From an original drawing 307 149. Plan of the house of Epidius Rufus 310 150. FaÃ§ade of the house of Epidius Rufus, restored. From an original drawing 311 151. Transverse section of the house of Epidius Rufus. From an original drawing 312 152. Plan of the house of the Tragic Poet 313 153. View of the house of the Tragic Poet, looking from the middle of the atrium toward the rear. From a photograph 314 154. Longitudinal section of the house of the Tragic Poet, restored. From an original drawing 316 155. The delivery of Briseis to the messenger of Agamemnon. Wall painting from the house of the Tragic Poet. Naples Museum. After _Museo Borb._, Vol. II, pl. 58 (Overbeck-Mau, Fig. 311) 317 156. The sacrifice of Iphigenia. Wall painting from the house of the Tragic Poet. Naples Museum. From a photograph 319 157. Exterior of the house of the Vettii, restored. From an original drawing.* (Cf. _RÃ¶m. Mitth._, 1896, p. 4) 321 158. Plan of the house of the Vettii* 322 159. Longitudinal section of the house of the Vettii, restored. From an original drawing.* (Cf. _RÃ¶m. Mitth._, 1896, pl. 1) 324 160. Transverse section of the house of Vettii, restored. From an original drawing.* (Cf. _RÃ¶m. Mitth._, 1896, pl. 2) 324 161. Base, capital, and section of entablature from the colonnade of the peristyle in the house of the Vettii. From a drawing.* (Cf. _RÃ¶m. Mitth._, 1896, p. 31) 326 162. View of the peristyle of the house of the Vettii, looking toward the south end. From a photograph 327 163. System of wall division in the large room opening on the peristyle of the house of the Vettii 329 164. Psyches gathering flowers. Wall painting in the house of the Vettii. From a photograph 330 165. Cupids as makers and sellers of oil. Wall painting in the house of the Vettii. From a photograph 332 166. Press for olives. From a wall painting found at Herculaneum. Naples Museum. Drawing after _Pitture di Ercolano_, Vol. I, pl. 35 333 167. Cupids as goldsmiths. Wall painting in the house of the Vettii. From a photograph 334 168. Cupids gathering and pressing grapes. Wall painting in the house of the Vettii. From a drawing.* (Cf. _RÃ¶m. Mitth._, 1896, p. 81) 336 169. Cupids as wine dealers. Wall painting in the house of the Vettii. From a photograph 337 170. Cupids celebrating the festival of Vesta. Wall painting in the house of the Vettii. From a drawing.* (Cf. _RÃ¶m. Mitth._, 1896, p. 80) 338 171. The punishment of Ixion. Wall painting in the house of the Vettii. From a photograph 340 172. Plan of the house of Acceptus and Euhodia (VIII. v.-vi. 39) 341 173. Longitudinal section of the house of Acceptus and Euhodia, restored. From an original drawing 342 174. Plan of a house without a compluvium* (V. v. 2) 343 175. Transverse section of the house without a compluvium, restored. From an original drawing.* (Cf. _RÃ¶m. Mitth._, 1895, p. 148) 344 176. Plan of the house of the Emperor Joseph II (VIII. ii. 39) 345 177. Bake room of the house of the Emperor Joseph II, at the time of excavation. After Mazois, Vol. II, pl. 34 (Overbeck-Mau, Fig. 4) 346 178. Capital of a pilaster at the entrance of the house of the Sculptured Capitals (VII. iv. 57). From a photograph 349 179. Plan of the house of Pansa (VI. vi. 1) 350 180. Section showing a part of the peristyle of the house of the Anchor (VI. x. 7), restored. From an original drawing 351 181. Plan of the house of the Citharist (I. iv. 5) 352 182. Orestes and Pylades before Thoas. Wall painting from the house of the Citharist. Naples Museum. From a photograph 353 183. Plan of the villa of Diomedes 356 184. Longitudinal section of the villa of Diomedes, restored. From an original drawing, in part based on Ivanoff, _Architektonische Studien_, Vol. II, pl. 5, 6 358 185. Hot-water tank and reservoir for supplying the bath in the Villa Rustica at Boscoreale. Museo de Prisco, Pompeii. From a drawing.* (Cf. _RÃ¶m. Mitth._, 1894, p. 353) 362 186. Olive crusher found in the Villa Rustica at Boscoreale. Museo de Prisco. From a photograph 365 187. Silver patera, with a representation of the city of Alexandria. Boscoreale treasure, Louvre. After H. de Villefosse. _Le trÃ©sor de Boscoreale_, pl. 1 366 188. Dining couch with bronze mountings, the wooden frame being restored. Naples Museum. After Overbeck-Mau, Fig. 228 367 189. Round marble table. Naples Museum. After _Museo Borb._, Vol. IV, pl. 56 (Overbeck-Mau, Fig. 229) 368 190. Carved table leg, found in the second peristyle of the house of the Faun. Naples Museum. After _Museo Borb._, Vol. IX, pl. 43 (Overbeck-Mau, Fig. 229) 368 191. Bronze stand with an ornamental rim around the top. Naples Museum. From a photograph 369 192. Lamps of the simplest form, with one nozzle. Naples Museum. After Overbeck-Mau, Fig. 231 370 193. Lamps with two nozzles. Naples Museum. After Overbeck-Mau, Fig. 231 370 194. Lamps with more than two nozzles. Naples Museum. After Overbeck-Mau, Fig. 231 370 195. Bronze lamps with ornamental covers attached to a chain. Naples Museum. After Overbeck-Mau, Fig. 231 371 196. Bronze lamps with covers ornamented with figures. Naples Museum. After Overbeck-Mau, Fig. 231 371 197. Three hanging lamps. Naples Museum. After Overbeck-Mau, Fig. 231 372 198. A nursing-bottle, biberon. Naples Museum. After Overbeck-Mau, Fig. 231 372 199. Lamp standard of bronze. Naples Museum. After _Museo Borb._, Vol. IV, pl. 57 (Overbeck-Mau, Fig. 234) 373 200. Lamp holder for a hand lamp. Naples Museum. After Overbeck-Mau, Fig. 233 374 201. Lamp holder for hanging lamps. Naples Museum. After _Museo Borb._, Vol. II, pl. 13 (Overbeck-Mau, Fig. 233) 374 202. Lamp holder in the form of a tree trunk. Naples Museum. After Overbeck-Mau, Fig. 233 374 203. Lamp stand. Naples Museum. From a photograph 374 204. Bronze utensils. Naples Museum. After Overbeck-Mau, Fig. 241, and _Museo Borb._ 375 205. Mixing bowl, of bronze, in part inlaid with silver. Naples Museum. After _Museo Borb._, Vol. II, pl. 32 (Overbeck-Mau, Fig. 248) 376 206. Water heater for the table, view and section. Naples Museum. After _Museo Borb._, Vol. III, pl. 63 (Overbeck-Mau, Fig. 240) 376 207. Water heater in the form of a brazier. Naples Museum. After _Museo Borb._, Vol. II, pl. 46 (Overbeck-Mau, Fig. 238) 377 208. Water heater in the form of a brazier, representing a diminutive fortress. Naples Museum. After _Museo Borb._, Vol. II, pl. 46 (Overbeck-Mau, Fig. 238) 377 209. Appliances for the bath. After _Museo Borb._, Vol. VII, pl. 16 (Overbeck Mau, Fig. 251) 377 210. Combs. After _Museo Borb._, Vol. IX, pl. 15 (Overbeck-Mau, Fig. 252) 377 211. Hairpins, with two small ivory toilet boxes. After _Museo Borb._, Vol. IX, pls. 14, 15 (Overbeck-Mau, Fig. 252) 378 212. Glass box for cosmetics. After _Museo Borb._, Vol. IX, pl. 15 (Overbeck-Mau, Fig. 252) 378 213. Hand mirrors. After _Museo Borb._, Vol. IX, pl. 14 (Overbeck-Mau, Fig. 252) 378 214. Group of toilet articles. After _Museo Borb._, Vol. IX, pl. 15 (Overbeck-Mau, Fig. 252) 378 215. Gold arm band. After _Museo Borb._, Vol. VII, pl. 46 (Overbeck-Mau, Fig. 318) 379 216 _a-d_. Silver cups. Naples Museum. After _Museo Borb._, Vol. XI, pl. 45; Vol. XIII, pl. 49; Overbeck-Mau, pl. facing p. 624 379 216 _e_. Detail of cup with centaurs 380 217. Silver cup. Boscoreale treasure, Louvre. After H. de Villefosse, _Le trÃ©sor de Boscoreale_, pl. 8 382 218. Ruins of a bakery, with millstones (VII. ii. 22). From a photograph 386 219. Plan of a bakery (VI. iii. 3) 388 220. A Pompeian mill, without the framework 389 221. Section of a mill, restored. From an original drawing 389 222. A mill in operation. Relief in the Vatican Museum. After _Ber. der SÃ¤chs. Gesellschaft_, 1861, pl. xii. 2 390 223. Section of a bake oven (VI. iii. 3). After Mazois, Vol. II, pl. 18 (Overbeck-Mau, Fig. 192) 391 224. Kneading machine, restored (VI. xiv. 35). From an original drawing 391 225. Scene in a fullery--treading vats. Wall painting. Naples Museum. After _Museo Borb._, Vol. IV, pl. 49 (Overbeck-Mau, Fig. 195) 394 226. Scene in a fullery--inspection of cloth, carding, bleaching frame. Wall painting. Naples Museum. After _Museo Borb._, Vol. IV, pl. 49 (Overbeck-Mau, Fig. 194) 394 227. A fuller's press. Wall painting. Naples Museum. After _Museo Borb._, Vol. IV, pl. 50 (Overbeck-Mau, Fig. 196) 395 228. Plan of a fullery (VI. xiv. 22) 396 229. Plan of the vat room of the tannery (I. v. 2) 398 230. Mosaic top of the table in the garden of the tannery. Naples Museum. From a photograph 399 231. Plan of an inn (VII. xii. 35) 401 232. Plan of the inn of Hermes (I. i. 8) 402 233. Plan of a wineshop (VI. x. 1) 402 234. Scene in a wineshop. Wall painting (VI. x. 1). After _Museo Borb._, Vol. IV, pl. A 403 235. Delivery of wine. Wall painting (VI. x. 1). After _Museo Borb._, Vol. IV, pl. A 403 236. Sepulchral benches of Veius and Mamia; tombs of Porcius and the Istacidii. From a photograph (A. M.) 409 237. The tomb of the Istacidii, restored. From an original drawing 411 238. View of the Street of Tombs. From a photograph 414 239. Glass vase, with vintage scene, found in the tomb of the Blue Glass Vase. Naples Museum. From a photograph 416 240. Bust stone of Tyche, slave of Julia Augusta. After Mazois, Vol. I, p. 31 (Overbeck-Mau, Fig. 223), with the correction in the spelling of the name TYCHE 418 241. Relief, symbolic of grief for the dead. After Mazois, Vol. I, pl. 29 (Overbeck-Mau, Fig. 221) 421 242. Front of the tomb of Calventius Quietus, with bisellium. From a photograph 422 243. End of the tomb of Naevoleia Tyche, with relief representing a ship entering port. From a photograph 423 244. Cinerary urn in a lead case. After Mazois, Vol. I. pl. 22 (Overbeck-Mau, Fig. 213) 424 245. Sepulchral enclosure, with triclinium funebre. After Mazois, Vol. I, pl. 20 (Overbeck-Mau, Fig. 210) 425 246. Plan of the tombs east of the Amphitheatre* 431 247. View of two tombs east of the Amphitheatre. From a photograph (F. W. K.) 432 248. View of other tombs east of the Amphitheatre. From a photograph (F. W. K.) 434 249. Four-faced Ionic capital. Portico of the Forum Triangulare. After Overbeck-Mau, Fig. 272 439 250. Capital of pilaster. Casa del duca d'Aumale. After Overbeck-Mau, Fig. 274 439 251. Altar in the court of the temple of Zeus Milichius. After Mazois, Vol. IV, pl. 6 (Overbeck-Mau, Fig. 63) 440 252. Capitals of columns, showing variations from typical forms. After Overbeck-Mau, Fig. 274 442 253. Capital of pilaster, modified Corinthian type. After Overbeck-Mau, Fig. 274 443 254. Capitals of pilasters, showing free adaptation of the Corinthian type. After Overbeck-Mau, Fig. 274 443 255. Statue of the priestess Eumachia. Naples Museum. From a photograph 446 256. Portrait herm of Caecilius Jucundus. Naples Museum. From a photograph 447 257. Double bust, Bacchus and a bacchante. Garden of the house of the Vettii. From a photograph 448 258. Dancing Satyr. Bronze statuette found in the house of the Faun. Naples Museum. From a photograph 451 259. Listening Dionysus, wrongly identified as Narcissus. Bronze statuette in the Naples Museum. From a photograph 452 260. Bronze youth, found in November, 1900. Naples Museum. From a photograph 454 261. Wall decoration in the atrium of the house of Sallust. First or Incrustation Style. After Tafel II of Mau's _Geschichte der decorativen Wandmalerei in Pompeji_ 460 262. Distribution of colors in the section of wall represented in Fig. 261 461 263. Specimen of wall decoration in the house of Spurius Mesor (VII. iii. 29). Third or Ornate style. After Tafel XII of Mau's _Wandmalerei_ 466 264. Detail of wall decoration. Fourth style. Naples Museum. After _Pitture di Ercolano_, Vol. IV. pl. 57 468 265. Specimen of wall decoration. Fourth style. From a copy in the Naples Museum (showing decoration that has disappeared) 469 266. A fruit piece, Xenion. Wall painting. Naples Museum. After _Pitture di Ercolano_, Vol. II, pl. 58 474 267. A landscape. Wall painting. Naples Museum. After _Pitture di Ercolano_, Vol. V, p. 149 475 268. A group of women, one of whom is sounding two-stringed instruments. Wall painting. Naples Museum. From a photograph 476 269. Paquius Proculus and his wife. Wall painting. Naples Museum. From a photograph 477 270. The grief of Hecuba. Fragment of a wall painting. House of Caecilius Jucundus. After _Ann. dell' Inst._, 1877, Tafel P 479 271. Athena's pipes and the fate of Marsyas. Wall painting (V. ii. 10). Naples Museum. From a drawing.* (Cf. _RÃ¶m. Mitth._, 1890, p. 267) 482 272. The fall of Icarus. Wall painting (V. ii. 10). From a drawing.* (Cf. _RÃ¶m. Mitth._, 1890, p. 264) 483 273. Zeus and Hera on Mt. Ida. Wall painting from the house of the Tragic Poet. Naples Museum. From a photograph 484 274. Tablet with three leaves, opened so as to show the receipt and part of the memorandum, restored. After Overbeck-Mau, pl. facing p. 489 500 275. Tablet restored, with the two leaves containing the receipt tied and sealed. After Overbeck-Mau, pl. facing p. 489 501 FOOTNOTE: [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. INTRODUCTION CHAPTER I _THE SITUATION OF POMPEII_ From Gaeta, where the south end of the Volscian range borders abruptly upon the sea, to the peninsula of Sorrento, a broad gulf stretched in remote ages, cutting its way far into the land. Its waves dashed upon the base of the mountains which now, rising with steep slope, mark the eastern boundary of the Campanian Plain--Mt. Tifata above Capua, Mt. Taburno back of Nola, and lying across the southeast corner, the huge mass of Monte Sant' Angelo, whose sharply defined line of elevation is continued in the heights of Sorrento. This gulf was transformed by volcanic agencies into a fertile plain. Here two fissures in the earth's crust cross each other, each marked by a series of extinct or active volcanoes. One fissure runs in the direction of the Italian Peninsula; along it lie Monti Berici near Vicenza, Mt. Amiata below Chiusi, the lakes of Bolsena and Bracciano filling extinct craters, the Alban Mountains, and finally Stromboli and Aetna. The other runs from east to west; its direction is indicated by Mt. Vulture near Venosa, Mt. Epomeo on the island of Ischia, and the Ponza Islands. At three places in the old sea basin the subterranean fires burst forth. Near the north shore rose the great volcano of Rocca Monfina, which added itself to the Volscian Mountains, and heaping the products of its eruptions upon Mons Massicus,--once an island,--formed with this the northern boundary of the plain. Toward the middle the numerous small vents of the Phlegraean Fields threw up the low heights, to which the north shore of the Bay of Naples--Posilipo, Baiae, Misenum--is indebted for its incomparable beauty of landscape. Finally, near the south shore, at the intersection of the fissures, the massive cone of Vesuvius rose, in complete isolation--the only volcano on the continent of Europe still remaining active. Its base on the southwest is washed by the sea, while on the other sides a stretch of level country separates it from the mountains that hem in the plain. On the side opposite from the sea, however, Vesuvius comes so near to the mountains that we may well say that it divides the Campanian plain into two parts, of which the larger, on the northwest side, is drained by the Volturno; the small southeast section is the plain of the Sarno. [Illustration: Fig. 1.--Map of Ancient Campania.] The Sarno, like the Umbrian Clitumnus, has no upper course. At the foot of Mt. Taburno, bounding the plain on the northeast, are five copious springs that soon unite to form a stream. Since 1843 the river has been drawn off for purposes of irrigation into three channels, which are graded at different levels; the distribution of water thus assured makes this part of Campania one of the most fertile districts in Italy. In antiquity the Sarno must have been confined to a single channel; according to Strabo it was navigable for ships. In Roman times three cities shared in the possession of the Sarno plain. Furthest inland, facing the pass in the mountains that opens toward the Gulf of Salerno, lay Nuceria, now Nocera. On the seashore, where the coast road to Sorrento branches off toward the southwest, was Stabiae, now Castellammare. North of Stabiae, at the foot of Vesuvius, Pompeii stood, on an elevation overlooking the Sarno, formed by the end of a stream of lava that in some past age had flowed from Vesuvius down toward the sea. Pompeii thus united the advantages of an easily fortified hill town with those of a maritime city. "It lies," says Strabo, "on the Sarnus, which accommodates a traffic in both imports and exports; it is the seaport of Nola, Nuceria, and Acerrae." [Illustration: Fig. 2.--Vesuvius as seen from Naples.] A glance at the map will show how conveniently situated Pompeii was to serve as a seaport for Nola and Nuceria; but it seems hardly credible that the inhabitants of Acerrae, which lay much nearer Naples, should have preferred for their marine traffic the circuitous route around Vesuvius to the Sarno. However that may have been, Pompeii was beyond doubt the most important town in the Sarno plain. Pompeii formerly lay nearer the sea and nearer the river than at present. In the course of the centuries alluvial deposits have pushed the shore line further and further away. It is now about a mile and a quarter from the nearest point of the city to the sea; in antiquity it was less than a third of a mile. The line of the ancient coast can still be traced by means of a clearly marked depression, beyond which the stratification of the volcanic deposits thrown out in 79 does not reach. The Sarno, too, now flows nearly two thirds of a mile from Pompeii; in antiquity, according to all indications, it was not more than half so far away. In point of climate and outlook, a fairer site for a city could scarcely have been chosen. The Pompeian, living in clear air, could look down upon the fogs which in the wet season frequently rose from the river and spread over the plain. And while in winter Stabiae, lying on the northwest side of Monte Sant' Angelo, enjoyed the sun for only a few hours, the elevation on which Pompeii stood, sloping gently toward the east and south, more sharply toward the west, was bathed in sunlight during the entire day. Winter at Pompeii is mild and short; spring and autumn are long. The heat of summer, moreover, is not extreme. In the early morning, it is true, the heat is at times oppressive. No breath of air stirs; and we look longingly off upon the expanse of sea where, far away on the horizon, in the direction of Capri, a dark line of rippling waves becomes visible. Nearer it comes, and nearer. About ten o'clock it reaches the shore. The leaves begin to rustle, and in a few moments the sea breeze sweeps over the city, strong, cool, and invigorating. The wind blows till just before sunset. The early hours of the evening are still; the pavements and the walls of the houses give out the heat which they have absorbed during the day. But soon--perhaps by nine o'clock--the tree tops again begin to murmur, and all night long, from the mountains of the interior, a gentle, refreshing stream of air flows down through the gardens, the roomy atriums and colonnades of the houses, the silent streets, and the buildings about the Forum, with an effect indescribably soothing. [Illustration: Fig. 3.--View from Pompeii, looking south.] How shall I undertake to convey to the reader who has not visited Pompeii, an impression of the beauty of its situation? Words are weak when confronted with the reality. Sea, mountains, and plain,--strong and pleasing background,--great masses and brilliant yet harmonious colors, splendid foreground effects and hazy vistas, undisturbed nature and the handiwork of man, all are blended into a landscape of the grand style, the like of which I should not know where else to look for. If we turn toward the south, we have at our feet the level plain of the Sarno, in antiquity as now--we may suppose--not checkered with villages but dotted here and there with groups of farm buildings, surrounded with stately trees. Beyond the plain rises the lofty barrier of Monte Sant' Angelo, thickly wooded in places, its summit standing out against the sky in a long, beautiful profile, which, toward the right, breaks up into bold, rugged notches; the side of the mountain below is richly diversified with deep valleys, projecting ridges, and terraces that in the distance seem like steps, where among vineyards and olive orchards stand two villages fair to look on, Gragnano and Lettere, so near that individual houses can be clearly distinguished. Further west the plain before us opens out upon the sea, while the mountains are continued in the precipitous coast of the peninsula of Sorrento. Height crowds upon height, with villages wreathed in olive orchards lying between. Here the hills descend in terraces to the sea, covered with vegetation to the water's edge; there the covering of soil has been cast off from the steep slopes, exposing the naked rock, which shines in the afternoon sun with a reddish hue that wonderfully accords with the dark shades of the foliage and the brilliant blue of the sea. Further on the tints become duller, and the sight is blurred; only with effort can we distinguish Sorrento, resting on cliffs that rise almost perpendicularly from the line of the shore. Further still the outline of the peninsula sinks into the sea and gives place to Capri, island of fantastic shape, whose crags rising sheer from the water stand out sharply in the bright sunlight. But we look toward the north, and the splendid variety of form and color vanishes; there stands only the vast, sombre mass of the great destroyer, Vesuvius, towering above the city and the plain. The sun as it nears the horizon veils the bare ashen cone with a mantle of deep violet, while the cloud of smoke that rises from the summit shines with a golden glow. Far above the base the sides are covered with vineyards, among which small groups of
{'title': 'Pompeii, Its Life and Art by August Mau', 'source': 'Project Gutenberg', 'lang': 'en'}