Traces of the first and third decorative styles are found in the atrium; but the most interesting remains are those of the last style. The alae and several rooms were redecorated shortly before the destruction of the city. The dining room (20) contains a series of paintings illustrating the contest between Apollo and Marsyas; they are skilfully displayed in a light architectural framework on a white ground. On the wall at the left (at a) Apollo is seen with left foot advanced, striking with his right hand a large cithara which rests against his left shoulder. Opposite him (at b) is Marsyas, playing the double flute; on the intervening panels (d, e) are the Muses, who are acting as judges in the contest of skill. The painting at c seems to relate to Apollo, but the subject has not been explained. The choice of subjects such as these may have been influenced by the cult of the early divinity of the city; but it probably implies a taste for poetry and music on the part of the proprietor.

Fig. 151.—Transverse section of the house of Epidius Rufus, restored.
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There were no shops in the front of this house, but in one respect our restoration of the façade ([Fig. 150]) can not be taken as indicating the appearance of such houses in general. Here the front line was set back several feet from that of the adjoining houses on either side, and the space thus gained was given to a terrace or ramp about four feet high, mounted by steps at either end. The elevation of the front entrance above the sidewalk and the placing of the approaches at the ends of the ramp gave the house an appearance of seclusion.

CHAPTER XL
THE HOUSE OF THE TRAGIC POET

In the "Last Days of Pompeii" the house of the Tragic Poet is presented to us as the home of Glaucus. Though not large, it was among the most attractive in the city. It received its present form and decoration not many years before the eruption, apparently after the earthquake of 63, and well illustrates the arrangements of the Pompeian house of the last years.