A few graffiti have reference to events, as the siege of Sulla, in 89 B.C. ([p. 240]). The most interesting historical examples are those which relate to the conflict between the Pompeians and the Nucerians, in the year 59 A.D. ([p. 220]). An ardent Pompeian wrote: Nucerinis infelicia,—'Down with the Nucerians!' From a scribbling by a partisan of the other side it appears that the inhabitants of Puteoli sympathized with the Nucerians, while those of Pithecusae—the island of Ischia—favored the Pompeians: Puteolanis feliciter, omnibus Nucherinis felicia, et uncu[m] Pompeianis [et] Pitecusanis,—'Hurrah for the Puteolaneans, good luck to all Nucerians; a hook for the Pompeians and Pithecusans.' The hook referred to in this connection was that used by executioners and the attendants of the Amphitheatre in dragging off the dead. Another Pompeian wrote: Campani, victoria una cum Nucerinis peristis,—'Campanians, you were conquered by the same victory with the Nucerians.' The Campani were not the inhabitants of Campania, but of the suburb called Pagus Campanus.
Two inscriptions, attesting the presence of members of the Praetorian Guard in Pompeii, have been previously mentioned ([pp. 387], [401]). Another praetorian left his name in a house of the eighth Region (VIII. iii. 21): Sex. Decimius Rufus milis coh[ortis] V pr[aetorianae] Ↄ Martialis,—'Sextus Decimius Rufus, a soldier of the fifth praetorian cohort, of the century led by Martialis.' To the same division of the army probably belonged a centurion of the first rank, Q. Spurennius Priscus, whose name was found in a house of the first Region (I. iii. 3). The first, fifth, and ninth praetorian cohorts, mentioned in the graffiti, may have come to Pompeii with different emperors, or on different occasions with the same emperor; it is unlikely that the three were united to form a single escort.
Graffiti are sometimes useful for the identification of buildings; so in the case of the Basilica and of several inns. The dated examples throw some light on the age of the stucco on which they are found. They are for the most part late, and afford little help in determining the time of commencement of the various decorative styles; but in several cases they indicate a later limit clearly. In this way we learn that the decoration of the Basilica, in the first style, was finished before October 3, 78 B.C.—how long before we cannot tell; and that in 37 B.C. the plastering of the Small Theatre was already on the walls, decorated in the second style. The gladiatorial graffito in the house of the Centenary ([p. 226]) proves that the decoration of the room in which it is found—a late example of the second style—was finished before November, A.D. 15. A dated inscription of the reign of Nero is given in the chapter on the house of the Silver Wedding ([p. 305]).
Several hundred graffiti present merely the name of the scribbler, sometimes with the addition hic fuit,—'was here,' or simply hic; as, Paris hic fuit, Sabinus hic.
A large number contain a greeting, perhaps in some cases intended for the eye of the person mentioned, as Aemilius Fortunato fratri salutem,—'Aemilius greets his brother Fortunatus.' In this as in other examples it is interesting to note that one brother is designated by the gens name, the other by the cognomen. Sometimes the greeting is the reverse of cordial, as in this instance: Samius Cornelio, suspendere,—'Samius to Cornelius: go hang yourself.' Hardly less naïve is the message to a friend who has died: Pyrrhus Chio conlegae sal[utem]: moleste fero, quod audivi te mortuom; itaq[ue] vale,—'Pyrrhus to his chum Chius: I'm sorry to hear that you are dead; and so, Good-by.'
The most prominent theme of the graffiti is love, which is constantly reappearing, in prose scribblings and in snatches of verse. The verse form is usually the elegiac distich. Some of the lines are taken from the poets; others were made up for the occasion, and not a few verses were finished in prose, as if the would-be versifier found original composition more difficult than he had anticipated.
Several distichs extol the power of love, as the following, which, taken from some unknown poet, is found in several places: Quisquis amat, valeat, pereat qui nescit amare; Bis tanto pereat quisquis amare vetat:—
'Good health be with you, lovers all;
Who knows not how to love, be cursed;
But oh may double ruin fall