This theatre was rich in antiquities[274], independent of the ornamental part. Statues, occupying niches, represented the Muses; scenic masks were imitated on the entablatures; and inscriptions were engraven on different places. Analogous to the last were several large alphabetical Roman characters in bronze; and a number of smaller size, which had probably been connected in some conspicuous situation. A metallic car was found, with four bronze horses attached to it, nearly of the natural size; but all in such a state of decay, that only one, and the spokes of the wheels, also in metal, could be preserved. A beautiful white marble statue of Venus, only eighteen inches high, in the same attitude as the famous Venus de Medicis, was recovered; and either here, or in the immediate vicinity, was found a colossal bronze statue of Vespasian, filled with lead, which twelve men were unable to move.
Besides many objects entire, there were numerous fragments of others, extremely interesting; which had been originally impaired, or were injured by attempts to remove them.
When we reflect, that sixteen hundred years have elapsed since the destruction of this city[275], an interval which has been marked by numerous revolutions, both in the political and mental state of Europe, a high degree of interest must be experienced in contemplating the venerable remains, recovered from the subterraneous city of Herculaneum. Pliny, the younger, in his letters, brings the Romans, their occupations, manners, and customs, before us. He pictures in feeling terms the death of his uncle, who perished in the same eruption as the city we now describe; and that event is brought to our immediate notice by those very things which it was the means of preserving. Among these we see the various articles which administered to the necessities and the pleasures of the inhabitants, the emblems of their religious sentiments, and the very manners and customs of domestic life.
These curiosities consist not only of statues, busts, altars, inscriptions, and other ornamental appendages of Grecian opulence and luxury; but also comprehend an entire assortment of the domestic, musical, and surgical instruments; tripods of elegant form and exquisite execution; lamps in endless variety; vases and basins of noble dimensions; chandeliers of the most beautiful shapes, looking-glasses of polished metal; coloured glass, so hard, clear, and well stained, as to appear like emeralds, sapphires, and other precious stones; a kitchen completely fitted up with copper pans lined with silver, kettles, cisterns for heating water, and every utensil necessary for culinary purposes; also specimens of various sorts of combustibles, retaining their form though burnt to a cinder. By an inscription, too, we learn that Herculaneum contained no less than nine hundred houses of entertainment, such as we call taverns. Articles of glass, artificial gems, vases, tripods, candelabra, lamps, urns, dice, and dice-boxes; various articles of dress and ornaments; surgical instruments, weights and measures, carpenters' and masons' tools; but no musical instruments except the sistrum, cymbals, and flutes of bone and ivory.
Fragments of columns of various coloured marble and beautiful mosaic pavements were also found disseminated among the ruins; and numerous sacrificial implements, such as pateræ, tripods, cups, and vases, were recovered in excellent preservation, and even some of the knives with which the victims are conjectured to have been slaughtered.
The ancient pictures of Herculaneum[276] are of the utmost interest; not only from the freshness and colour, but from the nature of the subjects they represent. All are executed in fresco; they are exclusively on the walls, and generally on a black or red ground. Some are of animated beings large as life; but the majority are in miniature. Every different subject of antiquity is depicted here; deities, human figures, animals, landscapes, foreign and domestic, and a variety of grotesque beings; sports and pastimes, theatrical performances, sacrifices, all enter the catalogue.
In regard to the statues found[277], some are colossal, some of the natural size, and some in miniature; and the materials of their formation are either clay, marble, or bronze. They represent all different objects, divinities, heroes, or distinguished persons; and in the same substances, especially bronze, there are the figures of many animals.
It is not probable that the best paintings of ancient Greece and Italy[278] were deposited in Herculaneum or Pompeii, which were towns of the second order, and unlikely to possess the master-pieces of the chief artists, which were usually destined to adorn the more celebrated temples or the palaces of kings and emperors. Their best statues are correct in their proportions, and elegant in their forms; but their paintings are not correct in their proportions, and are, comparatively, inelegant in their forms.
A few rare medals also have been found among these ruins, the most curious of which is a gold medallion of Augustus, struck in Sicily in the fifteenth year of his reign.
Nor must we omit one of the greatest curiosities, preserved at Portici[279]. This consists of a cement of cinders, which in one of the eruptions of Vesuvius surprised a woman, and totally enveloped her. This cement, compressed and hardened by time around her body, has become a complete mould of it, and in the pieces here preserved, we see a perfect impression of the different parts to which it adhered. One represents half a bosom, which is of exquisite beauty; another a shoulder, a third a portion of her shape, and all concur in revealing to us that this woman was young; that she was tall and well made, and even that she had escaped in her chemise, for some of the linen was still adhering to the ashes.