A ROMAN BOY.

This statue, now in the Metropolitan Museum, was found at Pompeii. Probably Caius was dressed just like this, and carried such a stick when he played in his father's courtyard.

THE CITY OF NAPLES, WITH MOUNT VESUVIUS ACROSS THE BAY.

VESUVIUS IN ERUPTION, FROM AN AIRPLANE.

Nowadays men know from history what may happen when Vesuvius wakes. But in 79 A.D., when Pompeii was buried, the mountain had slept for hundreds of years, and no man knew that an eruption might bury a city.

POMPEII FROM AN AIRPLANE.

The roofs are all gone and all the partitions inside the houses show. That is why it all looks so crowded and confused. But if you study it carefully you can see some interesting things. The big open space is the forum. It is about five hundred feet long, running northeast and southwest. South of it is the temple of Apollo. North of it, where you see the bases of columns in a circle, was the market. Next to the market is the place where the gods of the city were worshipped. The broad street beside the forum running southeast is the one down which Ariston fled. Then he turned into the forum, ran out the gate near the lower end into the steep street that runs southwest and ends at a city gate near the sea. NOLA STREET AND THE TEMPLE OF FORTUNE.

You must imagine this temple with an altar in front, a broad flight of steps, and a portico of beautiful columns. You can see the street paved with blocks of lava, the deep wheel ruts, and the stepping stones for rainy weather.

THE STABIAN GATE.

Pompeii was surrounded by two high walls fifteen feet apart, with earth between. An embankment of earth was piled up inside also. This is one of the eight gates in the wall.

IN THE STREET OF TOMBS.

On the tomb of NÆvoleia Tyche was a carving of a ship gliding into port, the sailors furling the sails. Within this tomb is a chamber where funeral urns stand, containing the ashes of Tyche and her husband, and of the slaves they had freed. Pompeians always burned the bodies of the dead.

THE AMPHITHEATER.

Like other Roman towns, Pompeii had an amphitheater. Here twenty thousand people could come and watch the gladiators fight in pairs till one was killed. Then the dead body was dragged off, and another pair appeared and fought. Sometimes the gladiators were prisoners captured in war, like the famous Spartacus; sometimes they were slaves; sometimes criminals condemned to death. Sometimes a man was pitted against a wild beast; sometimes two wild beasts fought each other. The amphitheater had no roof. Vesuvius, with its column of smoke, was in plain view from the seats. There was a great awning to protect the spectators. The lower seats were for officials and distinguished people; for the middle rows there was an admission fee; all the upper seats were free.

RUINS OF THE GREAT STABIAN BATHS.

A few large houses had baths of their own, but most people went every day to a great public bath which was a very gay place. This open court which you see, was for games.

THE RUINED TEMPLE OF APOLLO.

The temple was built on a high foundation. A broad flight of steps led up to it, with an altar at the foot. There was a porch all round it held up by a row of columns. Some of the columns have stood up through all the earthquakes and eruptions of two thousand years. Inside the porch was a small room for the statue of Apollo. In the paved court around this temple were many altars and statues of the gods. This was at one time the most important temple in Pompeii.

THE SCHOOL OF THE GLADIATORS.

In this large open court the gladiators had their training and practice. In small cells around the court they lived. They were kept under close guard, for they were dangerous men. Sixty-three skeletons were found here, many of them in irons.

THE SMALLER THEATER.

Pompeii had two theaters for plays and music, besides the amphitheater where the gladiators fought. The smaller theater, unlike the others, had a roof. It seated fifteen hundred people. We think perhaps contests in music were held here.

A SACRIFICE.

A boar, a ram, and a bull are to be killed, and a part of the flesh is to be burned on the altar to please the gods.

A SCENE IN THE FORUM.

On the walls of a room in a house in Pompeii men found this picture, showing how interesting the life of the forum was. At the left is a table where a man has kitchen utensils for sale. But he is dreaming and does not see a customer coming. So his friend is waking him up. Near him is a shoemaker selling sandals to some women.

IVORY HAIRPINS.

Underneath are two ivory toilet boxes. One was probably for perfumed oil.

APPLIANCES FOR THE BATH.

These were found hanging in a ring in one of the great public baths. You see a flask for oil, a saucer to pour the oil into, and four scrapers to scrape off the oil and dirt before a plunge.

PERISTYLE OF THE HOUSE OF THE VETTII.

With the columns and tables and statues that were found, this court has been built on the site of an old ruined villa. Flowers bloom and the fountain plays in it to-day just as they did over two thousand years ago. There are wall paintings in the shadows at the back. The little boys holding the ducks must look very much like Caius when he was a little boy. When he went to the farm in the hills for a hot summer, he had ducks to play with; here are statues to remind him, in the winter time, of what fun that was.

A garden like this, not generally so large, was laid out inside every important house in Pompeii. The family rooms surrounded it. These rooms received most of their light and air from this garden. Caius was lying on a couch in a garden like this, when the shower of pebbles suddenly began. Ariston was painting the walls of a room that overlooked the garden.

LADY PLAYING A HARP.

This is part of a beautiful wall painting in a Pompeian house, the sort of painting that Ariston was making when the volcano burst forth. See how much the little boy looks like his mother, and what beautiful bands they both have in their hair. Chairs like this one have been found in the ruins, and the same design is on many other pieces of furniture.

The Metropolitan Museum owns the complete wall paintings for a Pompeian room. They are put up just as they were in Pompeii. There is even an iron window grating. A beautiful table from Pompeii stands in the center. The room is one of the gayest in the whole museum, with its rich reds and bright yellows, greens, and blues.

KITCHEN OF THE HOUSE OF THE VETTII.

In this house the cook must have been in the kitchen, just ready to go to work when he had to flee. He left the pot on a tripod on a bed of coals, ready for use. You can see an arched opening underneath the fireplace. This was where the cook kept his fuel. The small size of the kitchens shows that the Pompeians were not great gluttons.

KITCHEN UTENSILS.

These kettles and frying pans and ladles are made of bronze, an alloy of copper and tin. They look very much like our kitchen furnishings.

CENTAUR CUP.

Some rich Pompeian had a pair of beautiful silver cups with graceful handles. The design was made in hammered silver, and showed centaurs talking to cupids that are sitting on their backs. A centaur was half man, half horse.

THE HOUSE OF THE TRAGIC POET (restored).

From the ruins and from ancient books, men know almost all the rooms of a Pompeian house. So they have pictured this one as it was before the disaster, with its many beautiful wall paintings, its mosaic floors, its tiled roofs. If you can imagine these two halves fitted together, and yourself inside, you can visit one of the most attractive houses in Pompeii. Do you see how the tiled roof slants downward from four sides to a rectangular opening in the highest part of the house? Below this opening was a shallow basin into which the rainwater fell. This basin was in the center of the atrium, the most important room in the house. The walls of this room were painted with scenes from the Trojan war. This is the house which has the mosaic picture of a dog on the floor of the long entrance hall (see next page). On each side of the hall, facing the street, are large rooms for shops, where, doubtless, the owner conducted his business. He was not a "Tragic Poet." Some people think he was a goldsmith. On each side of the atrium were sleeping rooms. Can you see that the doors are very high with a grating at the top to let in light and air? Windows were few and small, and generally the rooms took light and air from the inside courts rather than from outside. Back of the atrium was a large reception room with bedrooms on each side. And back of this was a large open court, or garden, with a colonnade on three sides and a solid wall at the back. Opening on this garden was a large dining room with beautiful wall paintings, a tiny kitchen, and some sleeping rooms. This house had stairways and second story rooms over the shops. This seems to us a very comfortable homelike house.

THE HOUSE OF THE TRAGIC POET (as it looks to-day).

Here you see the shallow basin in the floor of the atrium. This basin had two outlets. You can see the round cistern mouth near the pool. There was also an outlet to the street to carry off the overflow. At the back of the garden you can see a shrine to the household gods. At every meal a portion was set aside in little dishes for the gods.

MOSAIC OF WATCH DOG.

From the vestibule of the House of the Tragic Poet. It says loudly, "Beware the dog!" Pictures and patterns made of little pieces of polished stone like this are called mosaic. Sometimes American vestibules are tiled in a simple mosaic. Wouldn't it be fun if they had such exciting pictures as this? A real dog, or two or three, probably was standing inside the door, chained, or held by slaves.

THE HOUSE OF DIOMEDE.

There was a wine cellar under the colonnade. Here were twenty skeletons; two, children. Near the door were found skeletons of two men. One had a large key, doubtless the key of this door. He wore a gold ring and was carrying a good deal of money. He was probably the master of the house. Evidently the family thought at first that the wine cellar would be a safe place, but when they found that it was not so, the master took one slave and started out to find a way to escape. But they all perished.

RUINS OF A BAKERY, WITH MILLSTONES.

SECTION OF A MILL.

If one of the mills that were found in the bakery were sawed in two, it would look like this. You can see where the baker's man poured in the wheat, and where the flour dropped down, and the heavy timbers fastened to the upper millstone to turn it by.

PORTRAIT OF LUCIUS CÆCILIUS JUCUNDUS.

This Lucius was an auctioneer who had set free one of his slaves, Felix. Felix, in gratitude, had this portrait of his master cast in bronze. It stood on a marble pillar in the atrium of the house.

BRONZE CANDLEHOLDER.

It is the figure of the Roman God Silenus. He was the son of Pan, and the oldest of the satyrs, who were supposed to be half goat. Can you find the goat's horns among his curls? He was a rollicking old satyr, very fond of wine, always getting into mischief. The grape design at the base of the little statue, and the snake supporting the candleholder, both are symbols of the sileni.

THE DANCING FAUN.

In one of the largest and most elegant houses in Pompeii, on the floor of the atrium, or principal room of the house, men found in the ashes this bronze statue of a dancing faun. Doesn't he look as if he loved to dance, snapping his fingers to keep time? Although this great house contained on the floor of one room the most famous of ancient mosaic pictures, representing Alexander the Great in battle, and although it contains many other fine mosaics, it was named from this statue, the House of the Faun, Casa del Fauno.

HERMES IN REPOSE.

This bronze statue was found in Herculaneum, the city on the other slope of Vesuvius which was buried in liquid mud. This mud has become solid rock, from sixty to one hundred feet deep so that excavation is very difficult, and the city is still for the most part buried.

THE ARCH OF NERO.

The visitors to-day are walking where Caius walked so long ago on the same paving stones. The three stones were set up to keep chariots out of the forum.

---