INTRODUCTION CHAPTER I THE SITUATION OF POMPEII

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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.

Fig. 1.—Map of Ancient Campania.
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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."

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.

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 white houses can here and there be seen. West of us the outline of the mountain descends in a strong, simple curve to the sea. Just before it blends with the shore there rise behind it distant heights wrapped in blue haze, the first of moderate elevation, then others more prominent and further to the left. They are the heights along the north shore of the Bay of Naples—Gaurus crowned with the monastery of Camaldoli, famous for its magnificent view; the cliffs of Baiae, the promontory of Misenum, and the lofty cone of Epomeo on the island of Ischia. So the eye traverses the whole expanse of the Bay; Naples itself, hidden from our view, lies between those distant heights and the base of Vesuvius.

But meanwhile the sun has set behind Misenum; its last rays are lighting up the cloud of smoke above Vesuvius and the summit of Monte Sant' Angelo. The brilliancy of coloring has faded; the weary eye finds rest in the soft afterglow. We also may take leave of these beautiful surroundings, and inquire into the beginnings of the city which was founded here.

CHAPTER II
BEFORE 79

When Pompeii was founded we do not know. It is more than likely that a site so well adapted for a city was occupied at an early date. The oldest building, the Doric temple in the Forum Triangulare, is of the style of the sixth century B.C.; we are safe in assuming that the city was then already in existence.[2] The founders were Oscans. They belonged to a widely scattered branch of the Italic stock, whose language, closely related with the Latin, has been imperfectly recovered from a considerable number of inscriptions, so imperfectly that in each of the longer inscriptions there still remain words the meaning of which is obscure or doubtful. From this language the name of the city came; for pompe in Oscan meant 'five.' The word does not, however, appear in its simple form; we have only the adjective derived from it, pompaiians, 'Pompeian.' If we are right in assuming that the name appeared in Oscan, as it does in Latin, in the plural form, it was probably applied first to a gens, or clan, and thence to the city; the Latin equivalent of Pompeii would be Quintii. Pompeii was thus the city of the clan of the Pompeys, as Tarquinii was the city of the Tarquins, and Veii the city of the Veian clan. The name Pompeius was common in Pompeii down to the destruction of the city, and in other Campanian towns, notably Puteoli, to much later times.

In order to follow the course of events at Pompeii, it will be necessary to pass briefly in review the main points in the history of Campania. The Campanian Oscans, sprung from a rude and hardy race, became civilized from contact with the Greeks, who at an early period had settled in Cumae, in Dicaearchia, afterward Puteoli, and in Parthenope, later Naples; and the coast climate had an enervating effect upon them. When toward the end of the fifth century B.C. the Samnites, kinsmen of the Oscans, left their rugged mountain homes in the interior and pressed down toward the coast, the Oscans were unable to cope with them. In 424 B.C. the Samnites stormed and took Capua, in 420, Cumae; and Pompeii likewise fell into their hands. But they were no more successful than the Oscans had been in resisting the influence of Greek culture. How strong this influence was may be seen in the remains at Pompeii. The architecture of the period was Greek; Greek divinities were honored, as Apollo and Zeus Milichius; and the standard measures of the mensa ponderaria were inscribed with Greek names.

In less than a hundred years new strifes arose between the more cultured Samnites of the plain and their rough and warlike kinsmen in the mountains. But Rome took a part in the struggle, and in the Samnite Wars (343-290 B.C.) brought both the men of the mountains and the men of the plain under her dominion. Although the sovereignty of Rome took the form of a perpetual alliance, the cities in reality lost their independence. The complete subjugation and Romanizing of Campania, however, did not come till the time of the Social War (90-88 B.C.) and the supremacy of Sulla; the Samnites staked all on the success of the popular party, and lost.

In the narrative of these events Pompeii is not often mentioned. At the time of the Second Samnite War, in the year 310 B.C., we read that a Roman fleet under Publius Cornelius landed at the mouth of the Sarno, and that a pillaging expedition followed the course of the river as far as Nuceria; but the country folk fell on the marauders as they were returning, and forced them to give up their booty. We have no definite information regarding the attitude of the Pompeians after the battle of Cannae (216 B.C.); probably they joined the side of Hannibal, who, however, was defeated by Marcus Marcellus near Nola in the following year, and was obliged to leave Campania to the Romans.

In the Social War, when, in the summer of 90 B.C., the Samnite army marched into Campania, Pompeii allied itself with the insurgents; as a consequence, in 89, it was besieged by Sulla, but without success. Two years later, Sulla went to Asia to conduct the war against Mithridates. Returning victorious in the spring of 83 B.C., he led his army into Campania, where he spent the winter of 83-82; his soldiers, grown brutal in the Asiatic war and accustomed to every kind of license, may have proved unwelcome guests for the Pompeians.

The sequel came in the year 80, when a colony of Roman veterans was settled in Pompeii under the leadership of Publius Sulla, a nephew of the Dictator. Cicero later made a speech in behalf of this Sulla, defending him against the charge that he had taken part in the conspiracy of Catiline and had tried to induce the old residents of Pompeii to join in the plot. From this speech we learn that Sulla's reorganization of the city was accomplished with so great regard for the interests of the Pompeians, that they ever after held him in grateful remembrance. We learn, also, that soon after the founding of the colony disputes arose between the old residents and the colonists, about the public walks (ambulationes) and matters connected with the voting; the arrangements for voting had probably been so made as to throw the decision always into the hands of the colonists. The controversy was referred to the patrons of the colony, and settled by them. From this time on, the life of Pompeii seems not to have differed from that of the other small cities of Italy.

As the harbor of Pompeii was on the Sarno, which flowed at some distance from the city, there must have been a small settlement at the landing place. To this probably belonged a group of buildings, partly excavated in 1880-81, lying just across the Sarno canal (canale del Bottaro), about a third of a mile from the Stabian Gate. Here were found many skeletons, and with them a quantity of gold jewellery, which was afterward placed in the Museum at Naples. The most reasonable explanation of the discovery is, that the harbor was here, and that these persons, gathering up their valuables, fled from Pompeii at the time of the eruption either in order to escape by sea or to take refuge in Stabiae. Flight in either case was cut off. If ships were in the harbor, they must soon have been filled with the volcanic deposits; if there was a bridge across the river it was probably thrown down by the earthquake.

A second suburb sprang up near the sea, in connection with the salt works (salinae) of the city. Our knowledge of the inhabitants, the Salinenses, is derived from several inscriptions painted upon walls, in which they recommend candidates for the municipal offices, and from an inscription scratched upon the plaster of a column in which a fuller by the name of Crescens sends them a greeting: Cresce[n]s fullo Saline[n]sibus salute[m]. From another inscription we learn that they had an assembly, conventus, possibly judicial in its functions; for in connection with a date, it speaks of a fine of twenty sesterces, which would amount to about 3½ shillings, or 85 cents: VII K. dec. Salinis in conventu multa HS XX, 'Fine of twenty sesterces; assembly at Salinae, November 25.' Still another inscription speaks of attending such a meeting on November 19: XIII K. dec. in conventu veni.

The suburb most frequently mentioned was at first called Pagus Felix Suburbanus, but after the time of Augustus, Pagus Augustus Felix Suburbanus. Its location is unknown. As it evidently took the name of Felix from the Dictator Sulla, who used this epithet as a surname, we may assume that its origin dates from the establishment of the Roman colony; it may have been founded to provide a place for those inhabitants of Pompeii who had been forced to leave their homes in order to make room for the colonists. The existence of a fourth suburb is inferred from two painted inscriptions in which candidates for office are recommended by the Campanienses; this name would naturally be applied to the inhabitants of a Pagus Campanus, who, perhaps, had originally come from Capua.

Of the government of Pompeii in the earliest times, before the Samnite conquest, nothing is known. The names of various magistrates in the Samnite period, however, particularly the period of alliance with Rome (290-90 B.C.), are learned from inscriptions. Mention is made of a chief administrative officer (mediss, mediss tovtiks); of quaestors, who, probably, like the quaestors in Rome, were charged with the financial administration and let the contracts for public buildings; and of aediles, to whom, no doubt, was intrusted the care of streets and buildings, together with the policing of the markets. The Latin names of the last two officials suggest that their offices were introduced after 290. There was also an assembly called kombenniom, with which we may compare the Latin conventus; but whether it was an assembly of the people or a city council cannot now be determined.

Fig. 4.—Venus Pompeiana.
From a wall painting.

After the establishment of the Roman colony, Pompeii was named Colonia Cornelia Veneria Pompeianorum, from the gentile name of the Dictator Sulla (Lucius Cornelius Sulla Felix) and from the goddess to whom he paid special honor, who now, as Venus Pompeiana, became the tutelary divinity of the city. This goddess is represented in wall paintings. In that from which our illustration is taken (Fig. 4), she appears in a blue mantle studded with golden stars, and wears a crown set with green stones. Her left hand, which holds a sceptre, rests upon a rudder; in her right is a twig of olive. A Cupid stands upon a pedestal beside her, holding up a mirror.

From this time the highest official body, as in Roman colonies everywhere, was the city council, composed of decurions. The administration was placed in the hands of two pairs of officials, the duumvirs with judiciary authority, duumviri iuri dicundo, and two aediles, who were responsible for the care of buildings and streets and the oversight of the markets. When the duumvirs and the aediles joined in official acts they were known as the Board of Four, quattuorviri. Down to the time of the Empire it appears that the aediles were not designated officially by that name, but by a title known to us only in an abbreviated form, duumviri v. a. sacr. p. proc. This probably stands for duumviri viis, aedibus, sacris publicis procurandis, 'duumvirs in charge of the streets, the temples, and the public religious festivals.' The title of aedile seems to have been avoided because it had been in use in the days of autonomy, and the authorities thought it prudent to suppress everything that would suggest the former state of independence. Nevertheless, the word retained its place in ordinary speech, as is shown by its use in the inscriptions painted on walls recommending candidates for office; thence it finally forced its way back into the official language. The duumvirs of every fifth year were called quinquennial duumvirs, duumviri quinquennales, and assumed functions corresponding with those of the censors at Rome; they gave attention to matters of finance, and revised the lists of decurions and of citizens.

All these officials were elected annually by popular vote. The candidates offered themselves beforehand. If none came forward, or there were too few,—for the city officials not only received no salary, but were under obligation to make generous contributions for public purposes, as theatrical representations, games, and buildings,—the magistrate who presided at the election named candidates for the vacancies; but each candidate so named had the right to nominate a second for the same vacancy, the second in turn a third. The voting was by ballot; each voter threw his voting tablet into the urn of his precinct. No information has come down to us regarding the precincts (curiae) into which the city must have been divided for electoral purposes.

The election of a candidate was valid only in case he received the vote of an absolute majority of the precincts. If the result was indecisive for all or a part of the offices, the city council chose an extraordinary official who bore the title of prefect with judiciary authority, praefectus iuri dicundo. This prefect took the place of the duumvirs, not only when an election was indecisive, but also when vacancies arose in some other way, or when peculiar conditions seemed to make it desirable to have an officer of unusual powers, a kind of dictator; or finally, when the emperor had received the vote; in the last two cases, the prefect was undoubtedly appointed by the emperor. Thus, in the years 34 and 40 A.D., the Emperor Caligula was duumvir of Pompeii; but the duties of the office were discharged by a prefect. A law passed in Rome toward the end of the Republic on the motion of a certain Petronius contained provisions regarding the appointment of prefects; one chosen in accordance with them was called praefectus ex lege Petronia, 'prefect according to the law of Petronius.'

There were also in Pompeii priests supported by the city, but only a few of them are mentioned in the inscriptions. References are found to augurs and pontifices, to a priest of Mars, and to priests (flamen, sacerdos) of Augustus while he was still living; Nero had a priest even before he ascended the throne. Mention is made of priestesses, too, a priestess of Ceres and Venus, priestesses of Ceres, and others, the divinities of whom are not named.

The suburbs could scarcely have had a separate administration; they remained within the jurisdiction of the magistrates of the city. In the case of the Pagus Augustus Felix mention is made of a magister, 'director,' ministri, 'attendants,' and pagani, 'pagus officials'; but apparently these were all appointed for religious functions only, in connection with the worship of the emperor. The magister and the pagani, in part at least, were freedmen; the four ministri, first appointed in 7 B.C., were slaves.

Apart from commerce, an important source of income for the Pompeians lay in the fertility of the soil. In antiquity, as now, grapes were cultivated extensively on the ridge projecting from the foot of Vesuvius toward the south. The evidence afforded by the great number of wine jars, amphorae (Fig. 5), that have been brought to light would warrant this conclusion; and lately wine presses also have been discovered near Boscoreale, above Pompeii. Pliny makes mention of the Pompeian wine, but remarks that indulgence in it brings a headache that will last till noon of the following day. The olive too was cultivated, but only to a limited extent; this we infer from the small capacity of the press and other appliances for making oil found in the same villa in which the wine presses were discovered. At the present time the making of oil is not carried on about Pompeii. In the plain below the city vegetables were raised, as at the present day; the cabbage and onions of Pompeii were highly prized.

The working up of the products of the fisheries formed an important industry. The fish sauces which so tickled the palate of ancient epicures, garum, liquamen, and muria, were produced here of the finest quality. The making of them seems to have been practically a monopoly in the hands of a certain Umbricius Scaurus; a great number of earthen jars have been found with the mark of his ownership (p. 506).

Fig. 5.—An amphora from Boscoreale.

The Pompeians turned to account, also, the volcanic products of Vesuvius. Pumice stone was an article of export. From the lava millstones were made for both grain mills and oil mills, which were apparently already in extensive use in the time of Cato the Elder; he twice mentions the oil mills of Pompeii. In Pompeii itself the millstones of the oldest period are of lava from Vesuvius; later it was found that the lava of Rocca Monfina was better adapted for the purpose, and millstones of that material were preferred. Small hand-mills of the lava from Vesuvius were in use at Pompeii down to 79; but the larger millstones of this material found in the bakeries had been put one side. In shape and finish the mills of local make were superior to the more carelessly worked stones from Rocca Monfina; the preference for the latter was due to the fact that they contained numerous crystals of leucite, which broke off as the mill wore away, and so kept the grinding surfaces always rough. Millstones from Rocca Monfina may be seen at different places in Rome, as in the Museum of the Baths of Diocletian.

To the sources of revenue which contributed to the prosperity of Pompeii we may add the presence of wealthy Romans, who, attracted by the delightful climate, built country seats in the vicinity. Among them was Cicero, who often speaks of his Pompeian villa (Pompeianum). That the imperial family also had a villa here is inferred from a curious accident. We read that Drusus, the young son of the Emperor Claudius, a few days after his betrothal to the daughter of Sejanus, was choked to death at Pompeii by a pear which he had thrown up into the air and caught in his mouth. These country seats, no doubt, lay on the high ground back of Pompeii, toward Vesuvius; they probably faced the sea. But the identification of a villa excavated in the last century, and then filled up again, as the villa of Cicero, is wholly without foundation.

Salve lucrum, 'Welcome, Gain!' Such is the inscription which a Pompeian placed in the mosaic floor of his house. Lucrum gaudium, 'Gain is pure joy,' we read on the threshold of another house. A thrifty Pompeian certainly did not lack opportunity to acquire wealth.

How large a population Pompeii possessed at the time of the destruction of the city it is impossible to determine. A painstaking examination of all the houses excavated would afford data for an approximate estimate; but the results thus far obtained by those who have given attention to the subject are unsatisfactory. Fiorelli assigned to Pompeii twelve thousand inhabitants, Nissen twenty thousand. Undoubtedly the second estimate is nearer the truth than the first; according to all indication the population may very likely have exceeded twenty thousand.

This population was by no means homogeneous. The original Oscan stock had not yet lost its identity; inscriptions in the Oscan dialect are found scratched on the plaster of walls decorated in the style prevalent after the earthquake of the year 63. From the time when the Roman colony was founded no doubt additions continued to be made to the population from various parts of Italy. The Greek element was particularly strong. This is proved by the number of Greek names in the accounts of Caecilius Jucundus, for example, and by the Greek inscriptions that have been found on walls and on amphorae. The Greeks may have come from the neighboring towns; most of them were probably freedmen. In a seaport we should expect to find also Greeks from trans-marine cities; and, in fact, an Alexandrian appears in one of the receipts of Jucundus. There were Orientals, too, as we shall see when we come to the temple of Isis.

Thus far there has come to hand no trustworthy evidence for the presence of Christians at Pompeii; but traces of Jewish influence are not lacking. The words Sodoma, Gomora, are scratched in large letters on the wall of a house in Region IX (IX. i. 26). They must have been written by a Jew, or possibly a Christian; they seem like a prophecy of the fate of the city.

Fig. 6.—The Judgment of Solomon. Wall painting.

Another interesting bit of evidence is a wall painting, which appears to have as its subject the Judgment of Solomon (Fig. 6). On a tribunal at the right sits the king with two advisers; the pavilion is well guarded with soldiers. In front of the tribunal a soldier is about to cut a child in two with a cleaver. Two women are represented, one of whom stands at the block and is already taking hold of the half of the child assigned to her, while the other casts herself on her knees as a suppliant before the judges. It is not certain that the reference here is to Solomon; such tales pass from one country to another, and a somewhat similar story is told of the Egyptian king Bocchoris. The balance of probability is in favor of the view that we have here the Jewish version of the story, because this is consistent with other facts that point to the existence of a Jewish colony at Pompeii.

The names Maria and Martha appear in wall inscriptions. The assertion that Maria here is not the Hebrew name, but the feminine form of the Roman name Marius, is far astray. It appears in a list of female slaves who were working in a weaver's establishment, Vitalis, Florentina, Amaryllis, Januaria, Heracla, Maria, Lalage, Damalis, Doris. The Marian family was represented at Pompeii, but the Roman name Maria could not have been given to a slave. That we have here a Jewish name seems certain since the discovery of the name Martha.

In inscriptions upon wine jars we find mention of a certain M. Valerius Abinnerichus, a name which is certainly Jewish or Syrian; but whether Abinnerich was a dealer, or the owner of the estate on which the wine was produced, cannot be determined. In this connection it is worth while to note that vessels have been found with the inscribed labels, gar[um] cast[um] or cast[imoniale], and mur[ia] cast[a]. As we learn from Pliny (N. H. XXXI. viii. 95), these fish sauces, prepared for fast days, were used especially by the Jews.

Some have thought that the word Christianos can be read in an inscription written with charcoal, and have fancied that they found a reference to the persecution of the Christians under Nero. But charcoal inscriptions, which will last for centuries when covered with earth, soon become illegible if exposed to the air; such an inscription, traced on a wall at the time of the persecutions under Nero, must have disappeared long before the destruction of the city. The inscription in question was indistinct when discovered, and has since entirely faded; the reading is quite uncertain. If it were proved that the word "Christians" appeared in it, we should be warranted only in the inference that Christians were known at Pompeii, not that they lived and worshipped there. According to Tertullian (Apol. 40) there were no Christians in Campania before 79.

CHAPTER III
THE CITY OVERWHELMED

Previous to the terrible eruption of 79, Vesuvius was considered an extinct volcano. "Above these places," says Strabo, writing in the time of Augustus, "lies Vesuvius, the sides of which are well cultivated, even to the summit. This is level, but quite unproductive. It has a cindery appearance; for the rock is porous and of a sooty color, the appearance suggesting that the whole summit may once have been on fire and have contained craters, the fires of which died out when there was no longer anything left to burn."

Earthquakes, however, were of common occurrence in Campania. An especially violent shock on the fifth of February, 63 A.D., gave warning of the reawakening of Vesuvius. Great damage was done throughout the region lying between Naples and Nuceria, but the shock was most severe at Pompeii, a large part of the buildings of the city being thrown down. The prosperous and enterprising inhabitants at once set about rebuilding. When the final catastrophe came, on the twenty-fourth of August, 79 A.D., most of the houses were in a good state of repair, and the rebuilding of at least two temples, those of Apollo and of Isis, had been completed. This renewing of the city, caused by the earthquake, may be looked upon as a fortunate circumstance for our studies.

Our chief source of information for the events of August 24-26, 79, is a couple of letters of the Younger Pliny to Tacitus, who purposed to make use of them in writing his history. Pliny was staying at Misenum with his uncle, the Elder Pliny, who was in command of the Roman fleet. In the first letter he tells of his uncle's fate. On the afternoon of the twenty-fourth, the admiral Pliny set out with ships to rescue from impending danger the people at the foot of Vesuvius, particularly in the vicinity of Herculaneum. He came too late; it was no longer possible to effect a landing. So he directed his course to Stabiae, where he spent the night; and there on the following morning he died, suffocated by the fumes that were exhaled from the earth. The second letter gives an account of the writer's own experiences at Misenum.

To this testimony little is added by the narrative of Dion Cassius, which was written a century and a half later and is known to us only in abstract; Dion dwells at greater length on the powerful impression which the terrible convulsion of nature left upon those who were living at that time. With the help of the letters of Pliny, in connection with the facts established by the excavations, it is possible to picture to ourselves the progress of the eruption with a fair degree of clearness.

The subterranean fires of Vesuvius pressed upward to find an outlet. The accumulations of volcanic dust and pumice stone that had been heaped up on the mountain by former eruptions were again hurled to a great height, and came down upon the surrounding country. On the west side of Vesuvius they mingled with torrents of rain, and flowed as a vast stream of mud down over Herculaneum. On the south side, driven by a northwest wind as they descended from the upper air, they spread out into a thick cloud, which covered Pompeii and the plain of the Sarno. Out of this cloud first broken fragments of pumice stone—the average size not larger than a walnut—rained down to the depth of eight to ten feet; then followed volcanic dust, wet as it fell by a downpour of water, to the depth of six or seven feet. With the storm of dust came successive shocks of earthquake.

Such was, in outline, the course of the eruption. It must have begun early in the morning of the twenty-fourth, and the stream of mud must have commenced immediately to move in the direction of Herculaneum; for shortly after one o'clock on that day the admiral Pliny at Misenum received letters from the region threatened, saying that the danger was imminent, and that escape was possible only by sea. Even then the Younger Pliny saw, high above Vesuvius, the cloud, shaped like an umbrella pine, which was to rain down destruction on Pompeii. Toward evening, the ships off Herculaneum ran into the hail of pumice stone, which, during the night, reached Stabiae and so increased in violence that the admiral Pliny was obliged to leave his sleeping room from fear that the door would be blocked up by the falling masses.

Early in the morning of the twenty-fifth there was a severe shock of earthquake, which was felt as far as Misenum. Then the dust began to fall, and a cloud of fearful blackness, pierced through and through with flashes of lightning, settled down over land and sea. At Misenum, even, it became dark; "not," says Pliny, "as on a cloudy night when there is no moon, but as in a room which has been completely closed."

How long the fall of dust lasted we can only infer from this, that when it ceased the sun had not yet set. In Misenum, which the shower of pumice stone had not reached, everything was covered with a thick layer of dust. Although the earthquake shocks continued, the inhabitants went back into their houses. But Pompeii and Stabiae had been covered so deep that only the roofs of the houses, where these had not fallen in, projected above the surface; and Herculaneum had wholly disappeared.

All the plain of the Sarno was buried, as were also the slopes of the mountains on the south. Stabiae, as we have seen, lay at the foot of the mountains, on the coast. It had been destroyed by Sulla in the Social War; its inhabitants, forced to scatter, settled in the surrounding country. In the years 1749-82 numerous buildings were excavated in the vicinity, in part luxurious country seats, in part plain farm buildings; but the excavations were afterward filled up again. The covering of Stabiae was like that of Pompeii, only not so deep.

Herculaneum was covered with the same materials; they were not, however, deposited in regular strata, but were mixed together, and being drenched with water, hardened into a kind of tufa which in places reaches a depth of sixty-five feet. Excavating at Herculaneum is in consequence extremely difficult; and the difficulty is further increased by the fact that a modern city, Resina, extends over the greater part of the ancient site. The excavations thus far attempted have in most cases been conducted by means of underground passageways. The statement that Herculaneum was overflowed by a stream of lava, though frequently repeated, is erroneous.

Fig. 7.—Cast of a man.

The woodwork of buildings in Pompeii has in many cases been preserved, but in a completely charred condition. Frequently where walls were painted with yellow ochre it has turned red, especially when brought immediately into contact with the stratum of dust—a change which this color undergoes when it is exposed to heat. Nevertheless, the inference would be unwarranted that the products of the eruption fell upon the city red-hot and caused a general conflagration. The fragments of pumice stone could scarcely have retained a great degree of heat after having been so long in the air; it is evident from Pliny's narrative that they were not hot.

With the dust a copious rain must have fallen; for the bodies of those who perished in the storm of dust left perfect moulds, into a number of which soft plaster of Paris has been poured, making those casts of human figures which lend a melancholy interest to the collections in the little Museum at Pompeii (Fig. 7). The extraordinary freshness of these figures, without any suggestion of the wasting away after death, is explicable only on the supposition that the enveloping dust was damp, and so commenced immediately to harden into a permanent shape. If the dust had been dry and had packed down and hardened afterwards, we should be able to trace at least the beginnings of decay.

Neither the pumice stone nor the dust, then, could have set wood on fire. The woodwork must have become charred gradually from the effect of moisture, as in the case of coal, and the change in the color of the yellow ochre must be due to some other cause than the presence of heat. This is all the more evident from the fact that vestiges of local conflagrations, confined within narrow limits, can here and there be traced, kindled by the masses of glowing slag which fell at the same time with the pumice stone, or by the fires left burning in the houses.

From the number of skeletons discovered in the past few decades, since an accurate record has been kept, it has been estimated that in Pompeii itself, about two thousand persons perished. As the city contained a population of twenty thousand or more, it is evident that the majority of the inhabitants fled; since the eruption commenced in the morning, while the hail of pumice stone did not begin till afternoon, those who appreciated the greatness of the danger had time to escape. It is, however, impossible to say how many fled when it was already too late, and lost their lives outside the city. Mention has already been made of some who perished at the harbor; others who went out earlier to the Sarno may have made good their escape. Of those who remained in the city part were buried in the houses—so with twenty persons whose skeletons were found in the cellar of the villa of Diomedes; others, as the hail of pumice stone ceased, ventured out into the streets, where they soon succumbed to the shower of dust that immediately followed. As the bodies wasted away little except the bones was left in the hollows formed by the dust that hardened around them, and the casts already referred to, which have been made from time to time since 1863, give in some cases a remarkably clear and sharp representation of the victims.

The Emperor Titus sent a commission of senators into Campania to report in what way help could best be rendered. A plan was formed to rebuild the cities that had been destroyed, and the property of those who died without heirs was set aside for this purpose. Nothing came of it, however, so far as our knowledge goes. Pompeii is indeed mentioned in the Peutinger Table, a map for travellers made in the third century, but the name was apparently given to a post station in memory of the former city. Conclusive evidence against the existence of a new city is the absence of any inscriptions referring to it.

CHAPTER IV
THE UNEARTHING OF THE CITY

The first excavations at Pompeii were undertaken by the survivors shortly after the destruction of the city. As the upper parts of the houses that had not fallen in projected above the surface, it was possible to locate the places under which objects of value were buried. Men dug down from the surface at certain points and tunnelled from room to room underneath, breaking through the intervening walls. This work was facilitated by the stratification of the volcanic deposit; the loose bits of pumice stone in the lower stratum were easily removed, while the stratum of dust above was compact enough to furnish a fairly safe roof for narrow passageways. Only infrequently is a house discovered that was left undisturbed; from this we understand why comparatively little household furniture of value has been found. Not only were rich house furnishings in demand,—the excavators carried away valuable building materials as well. So eagerly were these sought after that large buildings, as those about the Forum, were almost completely stripped of their marble.

In the Middle Ages Pompeii was quite forgotten. Possibly some remains of the ancient buildings were yet to be seen; at any rate it seems to have been believed that a city once existed there, for the site was called La Civita.

In the years 1594-1600 Domenico Fontana was bringing water from one of the springs of the Sarno to Torre Annunziata, and in the course of the work cut an underground channel through the site of Pompeii and discovered two inscriptions; but no further investigations were made. The indifference of Fontana may be explained by the fact that the water channel was not dug out from above, like a railway cutting, and then covered over, but was carried as a tunnel through the hill on which the city stood, so that the workmen came to the ancient surface at only a few points. In the part now excavated, the original level was disturbed in but one place, near the temple of Zeus Milichius; here the inscriptions were probably found.

The excavation of the buried Campanian towns began, not at Pompeii, but at Herculaneum, where in 1709 the workmen of the Austrian general, Count Elbeuf, sunk a shaft, reaching the ancient level at the rear of the stage of the theatre. The current statement that Elbeuf discovered the site of Herculaneum by accident, his workmen being engaged in digging a well, is erroneous. The location of the city was already known, and Elbeuf was searching for antiquities. The error probably originated in a misunderstanding of the Italian word pozzo, which has a double meaning, "shaft," and "well."

At first little was accomplished, but after 1738 excavations were carried on by King Charles III in a more systematic manner. The director of these excavations, Rocco Gioacchino de Alcubierre, in March, 1748, had occasion to inspect the water channel mentioned above, and learned that at the place called La Civita—which he thought was Stabiae—objects of antiquity were often found. He came to the conclusion that this site was more promising than that of Herculaneum, where the excavations just then were yielding little of value; the result of his recommendation was that on the thirtieth of the same month excavations were commenced at Pompeii, with twelve workmen.

The first digging was done north of Nola Street, near the Casa del Torello; then the men were set at work on the Street of Tombs, near the Herculaneum Gate; and a part of the Amphitheatre also was cleared. In 1750 the work was stopped, because the results were thought to be unimportant.

Attention was again directed to Pompeii in 1754, when workmen engaged in constructing the highway that runs just south of the city discovered a number of tombs. About the same time, west of the Amphitheatre, the extensive establishment of Julia Felix, arranged like a villa, and some buildings lying north of it, were excavated; but they were all covered up again, as was also the so-called villa of Cicero, which was uncovered in 1763.

The parts excavated were not left clear until after 1763, when the discovery of the inscription of Suedius Clemens, on the Street of Tombs, had established the fact that the site was that of Pompeii. Important discoveries were made soon after. In the years immediately following 1764 the theatres, with the adjacent buildings, and the Street of Tombs, together with the villa of Diomedes, were laid bare. The excavations were conducted slowly and without system, yet with scientific interest fostered by the Herculaneum Academy (Accademia ercolanese), which had been founded in 1755.

Under Joseph Bonaparte and Murat, 1806-15, the work received larger appropriations, and was prosecuted with greater energy, particularly in the quarter lying between the Herculaneum Gate and the Forum. In the same period the Forum was approached from the south side also. In 1799, at the time of the Parthenopean Republic, the French general Championnet had excavated, south of the Basilica, the two houses which are still called by his name. From these, in 1813, the excavators made their way into the Basilica, whence, in November of the same year, they pushed forward into the Forum. However, the excavation of the Forum itself with the surrounding buildings, prosecuted less vigorously and with limited means in the period of the Restoration, was not completed till 1825; by this time the temple of Fortuna and the Baths north of the Forum had also been uncovered. The following years, to 1832, brought to light the beautiful houses on the north side of Nola Street—the houses of Pansa, of the Tragic Poet, and of the Faun—and those on Mercury Street; later came excavations south of Nola Street and in various parts of the city.

The disturbances of the period of Revolution caused a cessation of work for two years, from July 3, 1848, to September 27, 1850. During the next nine years effort was expended chiefly in clearing Stabian Street and the Stabian Baths.

The fall of the Bourbon dynasty and the passing over of Naples to the Kingdom of Italy caused another interruption, which lasted a year, from December 5, 1859, to December 20, 1860. On the last date the excavations were resumed under the direction of Giuseppe Fiorelli, a man of marked individuality, who left a permanent impress upon every part of the work. To him is due the present admirable system, excellent alike from the technical and from the administrative point of view. We owe it to him, that better provision is made now than formerly for the preservation and care of excavated buildings and objects discovered; the earlier efforts in this direction naturally left room for improvement, and the painstaking of the present administration is especially worthy of commendation.

Fig. 8.—An excavation. Atrium of the house of the Silver Wedding, cleared in the autumn of 1892.

Fiorelli put an end to haphazard digging, to excavating here and there wherever the site seemed most promising. He first set about clearing the undisturbed places lying between the excavated portions; and when in this way the west part of the city had been laid bare, he commenced to work systematically from the excavated part toward the east. Since 1860 only one public building has been excavated—the baths at the corner of Stabian and Nola streets; but many private houses have been uncovered, some of which are of much interest. Fiorelli remained in charge of the excavations until 1875, when he was called to Rome to become General Director of Museums and Excavations; he died in 1896, at the age of seventy-two. His successors, first Michele Ruggiero, then Giulio de Petra, have worked according to his plans, and in full sympathy with his ideals.

Up to the present time about three-fifths of Pompeii have been excavated. In 1872 Fiorelli made the calculation that if the excavations should continue at the rate then followed the whole city would be laid bare in 74 years. Since that time the work has progressed more slowly, partly in consequence of the greater care taken for the preservation of the remains. At the present rate of progress we may believe that the twentieth century will hardly witness the completion of the excavations.

Articles of furniture and objects of art that can easily be moved, as the statuettes often found in the gardens, are ordinarily taken to the Museum in Naples; a few things have been placed in the little Museum at Pompeii. Now and then small sculptures have been left in a house exactly as they were found; but the necessity of keeping such houses locked and of guarding them with especial care prevents the general adoption of this method of preservation.

In respect to the preservation of paintings the practice has varied at different periods. Generally, however, the best pictures have been cut from the walls and transferred to the Museum, while the decorative framework has been left undisturbed. It is keenly to be regretted that in this way the effect of the decorative system as a whole has been destroyed, for the picture forms the centre of a carefully elaborated scheme of decoration which needs to be viewed as an artistic whole in order to be fully appreciated; and the removal of a painting can hardly be accomplished without some damage to the parts of the wall immediately in contact with it. A far better method would be to leave intact all walls containing paintings or decorative work of interest, providing such means of protection against the weather as may be necessary. A good beginning in this respect has been made in the case of the house of the Vettii, the beautiful and well preserved paintings of which have been left on the walls and are preserved with the greatest care.

The treatment of a mosaic floor is an altogether different problem. While the floor as a whole, with its ornamental designs, is left in place, fine mosaics representing paintings, which are delicate and easily destroyed, are wisely taken up and placed in the Museum.

NOTES TO PLAN I

The Regions are given as they were laid out by Fiorelli (p. 34), the boundaries being marked by broken lines. The Insulae are designated by Arabic numerals.

Stabian Street, between Stabian and Vesuvius gates, separating Regions VIII, VII, and VI, from I, IX, and V, is often called Cardo, from analogy with the cardo maximus (the north and south line) of a Roman camp. Nola Street, leading from the Nola Gate, with its continuations (Strada della Fortuna, south of Insulae 10, 12, 13, and 14 of Region VI, and Strada della Terme, south of VI, 4, 6, 8), was for similar reasons designated as the Greater Decuman, Decumanus Maior; while the street running from the Water Gate to the Sarno Gate (Via Marina, Abbondanza Street, Strada dei Diadumeni) is called the Lesser Decuman, Decumanus Minor.

The only Regions wholly excavated are VII and VIII; but only a small portion of Region VI remains covered.

The towers of the city wall are designated by numbers, as they are supposed to have been at the time of the siege of Sulla, in 89 B.C. (p. 240).

PLAN I.—OUTLINE PLAN OF POMPEII.
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CHAPTER V
A BIRD'S-EYE VIEW

The outline of Pompeii, with its network of streets, may be traced on the accompanying plan.

The city took its shape from the end of the old lava stream on which it lay, which ran southeast from Vesuvius. It formed an irregular oval a little less than four fifths of a mile (1200 metres) long and a little more than two fifths of a mile (720 metres) wide in its greatest dimensions. On three sides, west, south, and east, the wall of the city ran along the edge of the hill; on the northwest side, between the Herculaneum and Capua gates, it passed directly across the ridge formed by the lava.

The eight gates are known by the modern names given on our plan. Two of them, the Herculaneum and Capua gates, lie at the points where the wall comes to the edge of the lava bed on either side; the streets that led from them descended to the plain. At the Herculaneum Gate the much travelled highway from Naples, passing through Herculaneum, entered the city; the Capua Gate does not seem to have been built to accommodate a large traffic. Between these two lay the Vesuvius Gate, through which the Pompeians passed out upon the ridge toward Vesuvius.

From the Herculaneum Gate nearly to the Stabian Gate, on the south side, ran a bluff, with a sharp descent. Nevertheless, as a gate was needed on the side nearest the sea, the Water Gate, Porta Marina, was placed here; through it a steep road led to the Forum, so steep that it could not have been much used by vehicles; but that may have mattered little to the fishermen bringing their catches to the market.

The Stabian Gate lay in a depression at the end of the lava bed and afforded a more convenient means of access to the city; thence a road ran to the harbor on the Sarno, and to Stabiae. At the left another road apparently branched off from this in the direction of Nuceria, which could be reached also from the conveniently located Nocera Gate further east; here also the slope of the hill was less pronounced. Two gates, finally, gave access to the city on the somewhat steeper east and northeast sides, the Sarno Gate, which takes its name, not from the river, but from the modern town of Sarno, and the Nola Gate; it is at least probable that the road passing through the latter led to Nola.

A glance at the plan will make it plain that the streets of Pompeii must have been laid out according to a definite system; an arrangement on the whole so regular and symmetrical would scarcely be found in a city that had developed gradually from a small beginning, in which the location of streets had been the result of accident.

Two wide streets that cross the city very nearly at right angles give the direction for the other streets running approximately north and south and east and west, Mercury Street with its continuations, and Nola Street. The former probably served as a base line in laying out the city; this we infer from the fact that while it is exceptionally broad, and the Forum lies on it, there is no gate at either end, and it could have been little used for traffic. Nola Street has a gate only at the east end; the west end opens into the Strada Consolare, which follows the line of the city wall and leads to the Herculaneum Gate at the northwest corner. That the other streets must have taken their direction from these two is clearly seen in the case of those in the northwest part of the city; on close examination it will be found that the arrangement of the rest also is in accordance with the same system, a fact which would perhaps be still more obvious if the unexcavated eastern portion of the city were laid bare.

In two instances, however, there is a deviation from this system. One is in the quarter near the Forum. For reasons which have not been satisfactorily explained, the Porta Marina was not placed on the prolongation of the street coming from the Sarno Gate, but further north. In order to reach this gate the street, as shown on the plan, makes a bend to the north which is reproduced in the other east and west streets lying south of Nola Street; west of the Forum, again, the streets converge in order to give access to this gate.

The other deviation, which affects Stabian Street, can be explained on grounds of convenience. This street, which runs from the Stabian to the Vesuvius Gate, abandoned the line of the north and south streets west of it in order to take advantage of a natural depression in the hill, by following which an easy grade could be established to the higher parts of the city; that the blocks along this important thoroughfare might not be too irregular in shape, the nearest parallel streets on the east were laid out in such a way as to follow the direction of Stabian Street. The street running south from the Capua Gate resumes, with slight variation, the north and south line of Mercury Street.

The public buildings of the city form two extensive groups. One group lies about the Forum (Plan II); with this we may reckon the Baths in the first block north, and the temples of Fortuna Augusta and Venus Pompeiana. The nucleus of the other is formed by the two theatres and the large quadrangular colonnade which, designed originally to afford protection for theatre-goers against the rain, was later turned into barracks for the gladiators (Plan III). There are in addition only four public buildings that need to be mentioned. Two are bathing establishments, the Stabian Baths, and those at the corner of Stabian and Nola streets. The third is a small building near the Herculaneum Gate, consisting of a hall opening on the street, with a base for a statue near the rear wall; this on insufficient grounds has been called a custom-house. The fourth, the Amphitheatre, lies in the southern corner of the city.

As the public buildings were thus located in clearly defined groups, it is not probable that many yet remain in the portion of the city which has not been excavated. We may expect to find only bathing establishments, and perhaps one or two temples. There were priestesses of Ceres and of Venus, but the sanctuary of Ceres has not been discovered. Mention is made also of a priest of Mars; but the temple of Mars, according to the precept of Vitruvius (I. vii. 1) would be outside the city.

A word should be added regarding the modern division of Pompeii into Regions, or wards, and Insulae. By an Insula is meant—in accordance with ancient usage—a block of houses surrounded on all sides by streets. The division into Regions was introduced by Fiorelli, and rests upon a misconception which has been corrected by more recent excavations. Fiorelli thought that the Capua Gate and the Nocera Gate were connected by a street, and that the city was thus divided by four streets (the assumed street, Stabian Street, Nola Street, and Abbondanza Street with its continuations) into nine Regions, marked on our plan with the numerals I-IX.

In each Region every block, or Insula, has its number, and in the Insula a separate number is given to every door opening on a street. This arrangement is convenient because each house can be accurately designated by means of three numbers.

On the plans the Insulae are designated by Arabic numerals, but in the text small Roman numerals are used for the sake of clearness; thus, Ins. IX. i. 26, means the first Insula of Region IX, No. 26.

The names of several of the more important streets, as of the better known houses, are given in the text in the English form.

CHAPTER VI
BUILDING MATERIALS, CONSTRUCTION, AND ARCHITECTURAL PERIODS

Six centuries lie between the dates of the earliest and the latest buildings at Pompeii; and in order to understand any structure rightly we must first of all ascertain to what period it belongs. It is indeed rarely possible to fix dates with exactness for the earlier time; but certain periods are so clearly differentiated from one another, that in most cases there is no room for doubt to which of them a building is to be assigned. Before undertaking to characterize these periods, however, it will be necessary briefly to notice what building materials were used, and how they were turned to account in construction.

Exclusive of wood, which was more freely used in Pompeii than in Campanian towns to-day, the principal building materials were Sarno limestone, two kinds of tufa (gray and yellow), lava, a whitish limestone often called travertine wrongly, marble, and brick.

The Sarno limestone (pietra di Sarno) is a deposit from the water of the Sarno, and is found in beds along the course of the river. It contains many impressions of the leaves and stems of plants, and varies greatly in compactness; it closely resembles the Roman travertine, except that it has a more decided yellowish tint.

Gray tufa is a volcanic dust which has been hardened by the presence of water into rock. It has a fine grain, and is easily worked; it was quarried in the vicinity of Nocera. The volcanic dust which formed the yellow tufa was thrown out in an earlier period, when the Sarno plain was still a part of the sea, and so hardened in salt water; it is more friable than the gray tufa, and not so durable.

The lava, which came originally from Vesuvius, was quarried at Pompeii. Three varieties may be distinguished, differing in density according as they were taken from the lower or the upper strata: solid lava, or basalt, which, being heavy and extremely hard, was extensively used for pavements and thresholds; slag, like the scoriae found on the sides of Vesuvius to-day; and cruma, the foam of the lava stream, which is light and porous, but on account of its hardness has good resisting qualities.

The whitish limestone has a fine texture, without impressions of leaves, and is of an even color; it was to some extent employed as a substitute for marble. It was not quarried at Pompeii, and was not extensively used; the most important example of its use is in the later colonnade about the Forum. The white Carrara marble (marmor lunense) was preferred for columns, pilasters, and architraves; but colored marbles of many varieties, cut into thin slabs and blocks, were used as a veneering for walls and in the mosaic floors.

Bricks were used only for the corners of buildings, for doorposts, and in a few instances, as in the Basilica and the house of the Labyrinth, for columns; brick walls are not found in Pompeii. The bricks seen in corners and doorposts (Figs. 11, 95) are simply a facing for rubble work. They are ordinarily less than an inch thick; they have the shape of a right-angled triangle, and are so laid that the side representing the hypothenuse—about six inches long—appears in the surface of the wall. Sometimes fragments of roof tiles, more or less irregular in shape, were used instead. The bricks of the earlier time contain sea sand and have a granular surface, with a less uniform color; the later bricks are smooth and even in appearance.

The flat oblong roof tiles (tegulae), measuring ordinarily 24 by 19 or 20 inches, had flanges at the sides; over the joints where the flanges came together, joint tiles in the form of a half-cylinder (imbrices) were laid, like those in use at the present day (Figs. 114, 117).

The styles of masonry are characteristic and interesting. We may distinguish them as masonry with limestone framework, rubble work, reticulate work, quasi-reticulate work, ashlar work, and, in the case of columns and entablatures, massive construction.

The masonry with limestone framework dates from the earliest period. The walls were built without mortar, clay being used instead. Since this served only as a filling, without strength as a binding material, it was necessary to arrange the stones themselves in such a way that the wall would stand firm. This result was accomplished by using large, oblong blocks, not only for corners and doorposts, but also for a framework in the body of the wall; as shown in our illustration, alternate vertical and horizontal blocks were built up into pillars which would hold in place the courses of smaller stones that filled the intervening spaces. The material of the larger, hewn blocks, as well as of the smaller fragments, was Sarno limestone, with occasional pieces of cruma or slag.

Fig. 9.—Wall with limestone framework.

The rubble work, opus incertum, consists of fragments irregular in shape, of the size of the fist and larger, laid in mortar. The material used in the earlier times was ordinarily lava; later, Sarno limestone. Corners and doorposts at first were built of hewn blocks; afterwards bricks and blocks of stone cut in the form of bricks were used for this purpose, and in the latest period frequently brick and stone combined, opus mixtum or opus compositum—a course of stone alternating with every two or three courses of brick. An example of the opus mixtum is seen in the entrances of the Herculaneum Gate (Fig. 113). Rubble work is the prevailing masonry at Pompeii; in comparison the other kinds described may be considered exceptional.

The reticulate work, opus reticulatum, formed the outer surface of a wall, the inner part of which was built up with rubble. It was composed of small four-sided pyramidal blocks, of which only the base, cut square and smooth, showed on the surface; the tapering part served as a key to bind the block into the wall. These blocks, which measured from three to four inches square at the base, were laid on their corners, so that the edges ran diagonally to the horizontal and vertical lines of the wall; the pattern thus formed had the appearance of a net, hence the name. The material was in most cases gray, occasionally yellow, tufa. The corners and doorposts were at first made of the same kind of stone cut in the shape of bricks; later of bricks. This style of masonry was in vogue at Rome, and apparently also at Pompeii, in the time of Augustus (Fig. 12; see also the pedestal in the foreground of Plate I).

The quasi-reticulate work belongs to the early years of the Roman colony. In appearance it lies between rubble and reticulate work, differing from the latter in that the small blocks are less carefully finished and are laid with less regularity. The material is generally lava, but tufa and limestone are also found. The corners and doorposts are of brick, or of brick-shaped blocks of tufa or limestone (Fig. 11).

Ashlar work, of carefully hewn oblong blocks laid in courses, is found in the older portions of the city wall (Fig. 109) and in the walls of the Greek temple in the Forum Triangulare; it was used otherwise only for the fronts of houses (Fig. 10). The material in the earliest times was Sarno limestone, later gray tufa. With the coming of the Roman colony ashlar work went out of use, even for the corners of houses and doorposts.

In the construction of columns and many architraves large blocks were used. Previous to the time of the Roman colony these were of gray tufa, or, in rare instances, of limestone; a coating of white stucco was laid on the surface. From the advent of the colony to the time of the Early Empire, the whitish limestone was used; after that, Carrara marble.

Bearing in mind the styles of construction just described, we may now turn to the architectural history of Pompeii, which, as we shall see, falls naturally into six periods.

The first period is that to which the Doric temple in the Forum Triangulare and the city walls belong. From the style of the temple, we may safely conclude that it was built in the sixth century B.C.; the evidence is too scanty to enable us definitely to fix the date of the walls. The building materials used were the Sarno limestone and gray tufa.

The second period may be designated as the Period of the Limestone Atriums, so characterized from the peculiar construction of a number of houses found in different parts of the city. On the side facing the street these houses have walls of ashlar work of Sarno limestone (Fig. 10), but the inner walls are of limestone framework (Fig. 9).

Fig. 10.—FaÇade of Sarno limestone, house of the Surgeon.

Almost no ornamental forms belonging to this period have come down to us; so far only a single column has been found, built into the wall of a house. It is of the Doric style, and once formed part of a portico that ran along the west side of the small open space at the northwest corner of Stabian and Nola streets; it is thus the sole remnant of a public building. In the only complete house that has survived from this period, the house of the Surgeon, there was a portico in front of the garden, but the roof was supported by square pillars, not by columns. There is no trace of wall painting.

Characteristic as the construction of the limestone atriums is, it is difficult to determine to what age they belong. The beginning of the period cannot be determined even approximately. The end, however, is fixed by the earlier limit of the next period, the Second Punic War. We may, therefore, assign the houses with the limestone atriums to a period just preceding this war; reckoning in round numbers, they were built before 200 B.C.

In the third, or Tufa Period, came the climax of the development of Pompeian architecture prior to the Roman domination. The favorite building material was the gray tufa.

With the exception of the Greek temple mentioned above, all the public buildings of Pompeii that do not belong to the time of the Roman colony have a homogeneous character; a list of them would include the colonnade about the Forum, the Basilica, the temples of Apollo and of Jupiter, the Large Theatre with the colonnades of the Forum Triangulare and the Barracks of the Gladiators, the Stabian Baths, the Palaestra, and the outer part of the Porta Marina with the inner parts of the other gates. Closely associated with these public edifices is a large number of private houses; as a specially characteristic example, we may mention the house of the Faun.

All these buildings are similar in style and construction; they evidently date from a period of great building activity. It must also have been a period of peace and prosperity; for the whole city, from the artistic and monumental point of view, underwent a transformation. Certain Oscan inscriptions, an early Latin monumental inscription, and a few words, dating from 78 B.C., scratched upon the plaster of the Basilica, oblige us to place the Tufa Period before the time of the Roman colony; yet not long before, for the next oldest buildings date from the first years of the colony. The time of peace that furnished the background for the period can only have been that between the Second Punic War and the Social War, about 200 to 90 B.C.; the Tufa Period was approximately the second century before Christ.

In marked contrast with the Period of the Limestone Atriums, the Tufa Period has a pronounced artistic character. It is preËminently a period of monumental construction. Buildings and public places are adorned with colonnades of the Doric, Ionic, and Corinthian orders. The simple and beautiful forms of the Greek architecture are used, sparingly indeed, but without petty detail and with evident fear of excessive ornamentation. Columns and architraves are white, with only slight suggestion of the earlier Greek polychrome decoration. A variety of color, however, is laid on the walls, and with this period the history of Pompeian wall decoration begins.

The Tufa Period coincides throughout with the time of the first style of decoration. This, known as the Incrustation Style, aimed to imitate in stucco the appearance of a wall veneered with colored marbles. Wall paintings are wholly lacking, but pictures, often of rare beauty, are found in the mosaics of the floors. In this period, we may truly say that Pompeian architecture was at its best. With it the pure Greek tradition dies out; all the buildings of later times bear the Roman stamp.

The buildings of the Tufa Period are easily recognized by the unobtrusiveness of the materials used in their construction. The rubble work is mostly of lava; but gray tufa was used exclusively, not only for ashlar work in faÇades, but also for columns and entablatures. The surface of the tufa was coated with a layer of fine white stucco, which gave it the appearance of marble. The use of marble for building purposes, however, is foreign to this period; and it speaks well for the culture of the Oscan Pompeians that they had pleasure in beauty of form above richness of material.

The fourth period covers the earlier decades of the Roman colony, from 80 B.C. to near the end of the Republic. According to inscriptions which are still extant, soon after the year 80 a wealthy colonist, Gaius Quinctius Valgus, when duumvir with Marcus Porcius as colleague, built the Small Theatre, and afterwards, when quinquennial duumvir with the same colleague, the Amphitheatre also. Both structures have the quasi-reticulate facing (Fig. 11); and several other buildings in which the same style of masonry is found without doubt belong to the same period—the Baths near the Forum, the temple of Zeus Milichius, a building just inside the Porta Marina, and apparently the hall at the southeast corner of the Forum, which we shall identify as the Comitium; with these should be included also the original temple of Isis, which was destroyed by the earthquake of 63 A.D. Few houses dating from this period have been discovered; the provision made by the preceding period in this respect had been so generous that new houses were not needed.

Fig. 11.—Quasi-reticulate facing, with brick corner, at the entrance of the Small Theatre.

From the aesthetic point of view the fourth period falls far below that just preceding; the exhaustion of resources and the decline of taste due to the long and terrible war are unmistakable. Theatre, Amphitheatre, and Baths were alike built for immediate use, with crude and scanty ornamentation; and where richer ornament was applied, as in the case of the temple of Isis, it could not for a moment be compared with that of the Tufa Period in beauty and finish.

The wall decoration of the fourth period is of the second Pompeian style, which came into vogue just after the founding of the colony, and which we shall call the Architectural Style; for in part, as the first style, it imitated a veneering of marble, not however with the help of slabs or panels modelled in stucco, but by the use of color only, laid on walls finished to a plane surface; in part it made use of architectural designs which were painted either correctly or with at least some regard for proper proportions.

The fifth period extends from the last decades of the Republic to the earthquake of the year 63 A.D. In the entire period, covering more than a century, we are unable to distinguish a series of buildings which may be classed together in style and construction as constituting a homogeneous, representative group. Here and there we can point out a piece of masonry which, from its similarity to that of the fourth period, may be assigned to the end of the Republic; again, walls with reticulate facing of tufa and corners of brick-shaped blocks of the same stone belong to the time of Augustus (Fig. 12), while reticulate work with corners of brick (Fig. 95) is of later date; but there is a total lack of those distinguishing characteristics which would serve to set off by themselves all the buildings belonging to a particular time. Consequently in the case of each structure it is necessary to take into account all the circumstances, and then to form an independent judgment regarding its style and date.

Fig. 12.—Reticulate facing, with corners of brick-shaped stone. The filled arch is probably to bear the weight of the wall over a sewer.

The difficulty is further enhanced by the fact that three styles of wall decoration fall within the limits of the same period. The Architectural Style, already mentioned, remained in vogue to the time of Augustus; it then gave place to the third or Ornate Style, which is characterized by a freer use of ornament and the introduction of designs and scenes suggestive of an Egyptian origin. The fourth or Intricate Style came in about the year 50 A.D., and represents, with its involved and fantastic designs, the last stage in the development of Pompeian wall decoration. In the fifth period marble began to be employed as a building material; the earliest dated example of its use is the temple of Fortuna Augusta, erected about 3 B.C.

The sixteen years between the earthquake of 63 A.D. and the destruction of the city form the sixth period in the architectural history of Pompeii. The buildings belonging to it can be easily recognized, not only from their similarity in style and ornament, but also from certain external characteristics, as newness of appearance, unfinished condition, and the joining of new to broken walls. The only important building wholly new is the large bathing establishment, the Central Baths, at the corner of Stabian and Nola streets. For the rest, effort seems to have been directed toward restoring the ruined buildings as nearly as possible to their original condition. The wall decoration throughout is of the Intricate Style.

The measurements of buildings in the Roman Period conform to the scale of the Roman foot, while the dimensions of structures antedating the Roman colony in most cases reduce to the scale of the Oscan or old Italic foot. The Roman foot (296 mm.) may be roughly reckoned at 0.97 of the English foot (304.8 mm.); the Oscan foot (275 mm.) is considerably shorter. As the Roman standard is of Greek origin, we may perhaps find a structure conforming to it that was designed by a Greek architect before the Roman Period.

KEY TO PLAN II

  • A. The Forum.
    • 1. Pedestal of the statue of Augustus.
    • 2. Pedestal of the statue of Claudius.
    • 3. Pedestal of the statue of Agrippina.
    • 4. Pedestal of the statue of Nero.
    • 5. Pedestal of the statue of Caligula.
    • 6. Pedestals of equestrian statues.
    • 7. Pedestals of standing figures.
    • 8. Pedestal for three equestrian statues.
    • 9. Speaker's platform (p. 48).
    • 10. Table of standard measures (p. 92).
    • 11. Room of the supervisor of measures.
  • B. The Basilica.
    • a. Entrance court.
    • 1. Corridor.
    • 2. Main room.
    • 3. Tribunal.
    • 4-4. Rooms at the ends of the tribunal.
  • C. The Temple of Apollo.
    • 1. Colonnade.
    • 2. Podium.
    • 3. Cella.
    • 4. Altar.
    • 5. Sundial.
    • 6. Sacristan's room.
    • 7-7. Rooms made from earlier colonnade.
  • D. D'. Market Buildings.
  • E. Latrina.
  • F. F. City Treasury.
  • G. Commemorative Arch.
  • H. Temple of Jupiter.
  • I. Arch of Tiberius.
  • K. The Provision Market—Macellum.
    • 1. Portico.
    • 2. Colonnade.
    • 3-3. Market stalls.
    • 4. Market for meat and fish.
    • 5. Chapel of the imperial family.
    • 6. Banquet room.
    • 7. Round structure with water basin—Tholus.
    • 8. Pen.
  • L. Sanctuary of the City Lares.
    • 1. Main room, unroofed, with an altar in the centre.
    • 2. Apse, with shrine.
    • 3. Recesses with pedestals.
    • 4. Niche opening on the Forum.
  • M. Temple of Vespasian.
    • 1. Colonnade.
    • 2. Altar.
    • 3. Cella.
    • 4. Portico.
  • N. The Building of Eumachia.
  • O. The Voting Place—Comitium.
    • 1. Recess opening on the main room.
    • 2. Recess opening on the Forum.
  • P-R. Municipal Buildings.
    • P. Office of the duumvirs.
    • Q. Hall of the city council.
    • R. Office of the aediles.
  • S. Fountain.

PLAN II.—THE FORUM WITH THE ADJOINING BUILDINGS.
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