“The works of art found in Herculaneum are in general much better than those from Pompeii, and every external sign proves it to have been a town of more refinement and wealth than its neighbor. Numerous statues in bronze and marble have been collected from these cities, and a large hall in the museum is devoted to their exhibition. Many are mythological, but busts and statues of the several emperors are also common. One bronze horse, considerably injured and corroded, has been found, and an admirable bronze Hercules. The candelabra were numerous and elegant. One we observed fitted to take apart for the convenience of traveling; its sliding rod drops into a case or sheath, and the tripod foot folds together as snugly as the wing of a bird. A very beautiful candelabrum, taken from the house of Diomede, has a basis formed of a small flat table of bronze standing upon feet. It is elegantly inlaid with silver in the form of a running vine and of leaves; some portions have been burnished, to give an idea of its original beauty. A perpendicular rod rises three feet in hight, and supports a cross upon which are suspended four lamps. All the parts are preserved; and were this tasteful candelabrum put in order and burnished, it would be a fine form for our modern artists to copy, who, indeed, often profit by ancient models.
“The Roman steelyards had a scale suspended so as to receive the thing to be weighed, and the weight slid, as with us, upon a graduated beam; in one the counterpoise is fashioned into an elegant female head. There is a collection of surgical instruments, some of them very similar to those used at the present day. Iron probes, iron teeth extractors, elevators for the operation of trepanning, a cauterizing iron, lancets, catheters, amputating instruments, spatulas and obstetric forceps. Along with these things are rolls of the apothecary, ready to be divided into pills. The articles of the toilet are abundant; pins of ivory in large numbers and great variety for the hair; combs, curling-tongs, boxes for perfumes and rouge, which is preserved in a small glass bottle; mirrors of metal, small, but sufficient for a lady’s face, and reflectors, to be used probably in a position to give seasonable notice of the approach of a visitor from the vestibule, similar to the arrangement now common in Holland and Germany. Numerous small objects attracted our attention, among which were the ivory dice, and tickets of bone or ivory for admission to the theater, marked and numbered. Musical instruments were common; among them numerous flutes or flageolets, prepared from bone. Numerous bronze penates, truly dii minores, often less than a finger’s length in hight, some partly finished, are to be seen in the museum at Naples.
“There is an apartment here, finished in the style of an ancient Roman house. This is in the extreme end of one of the long suites of rooms. The sky-blue panels have each, in the center, a female figure, volant or quiet; the upper part of the side walls, and of the dome, is divided into compartments, which are decorated by colored lines and forms of great beauty, the entire effect of which is charming. The eye delights to dwell upon them, and would never be tired, because the beauty, although exquisite, is simple and tasteful. We saw in the museum, as already mentioned, the helmet and skull of the Roman sentinel found at his post in the city gate at Pompeii, with his short sword by his side; there, too, was the complete armor of a Roman knight with a decorated and crested helmet, with figures embossed upon the breast-plate, and the coverings of the arms and limbs. We must not forget the iron stocks for punishment. A bar of iron or bronze of great weight had metallic projections standing upward, between which the feet were placed, and secured by a cross pin. It does not appear that the head was pinioned, as in modern times; but we could well understand how the feet of the apostles were rendered lame by confinement in the Roman stocks.
“The hall of ancient sculpture, chiefly from Pompeii and Herculaneum, with some figures from Rome, powerfully attracted our attention. These sculptures, usually of full size, and sometimes colossal, are very fine. Excellent, manly forms, and noble, elevated features of men, and of women, worthy of such companions, with great variety of characteristic attitude, and in general, in full costume, served to convey to us, as we may believe, a very perfect idea of the personal appearance of Roman citizens of that age. The family of Balbus found in Herculaneum, is particularly interesting. It is composed of the father, a noble figure, the mother, equally impressive, and sons and daughters worthy of such parentage. Their features are calm and mild. It is a most interesting group, and in perfect preservation. The moral and intellectual expression of the figures in these rooms—through a long series of apartments and a host of figures—is as various as that of living people.
“It is convenient to introduce here a notice of the Farnesian bull; for this inimitable piece of sculpture is in this place, although it was not found interred in Pompeii or Herculaneum, but buried among the ruins of the baths of Caracalla. A large bull, of perfect and beautiful form, is rearing upon his hind legs, as if about to bound away in his course; but this he is prevented from doing, as he is powerfully held by the horns and the nose by two resolute, athletic young men, one on each side, who have him in such durance that his massive neck is wrinkled in large folds, as he turns his head backward in his efforts to escape from their grasp. The cause of the struggle becomes apparent, when we glance at a fine female form recumbent, and see that her abundant tresses are interwoven with the strands of a rope which is noosed around the horns of the bull, and it flashes at once on the mind, that should the maddened animal escape from his keepers, she will be quickly torn in pieces. Her noble sons have, in a critical moment, sprung forward to her rescue, and are just able to arrest her impending fate. Filial love proves to be stronger than disapprobation of an imputed fault, for which their mother was to have been immolated by this horrible death. In such a crisis we are not careful to balance the moral question: we instinctively applaud the filial piety, and do not ask for the spirit of Brutus. This wonderful group was sculptured out of a single block of marble of nine feet eight inches by thirteen feet, by Appollonius and Tauriscus, two artists in Greece, from which country it was brought, to grace the baths of Caracalla. It is truly wonderful that such a ponderous mass, embracing so many figures, could be brought over seas, from a distant country, to Rome, and again be transported from that city to Naples, without injury, after being buried for fifteen centuries in the baths of Caracalla.
HERCULANEUM.
“The same eruption which destroyed Pompeii, Stabiæ, Oplontia and Teglanum, entombed Herculaneum also. Its site was, however, unknown, as well as that of the other buried towns; and the fatal event is only occasionally alluded to by the Roman writers. In the year 63, an earthquake had shattered these cities, a precursor of their coming doom. In 1711, a peasant, in digging a well, discovered, at twenty feet depth, pieces of colored marble. In 1713, the digging being continued, they struck down into a temple, and discovered the statues of Cleopatra and Hercules; and subsequent explorations disclosed the theater. Our time being very fully occupied with Pompeii on the day when we were there, we reserved to another opportunity a visit to Herculaneum. We descended quite conveniently down steps of stone, and arrived at the pit of the theater, seventy-nine feet below the level of the main street of Portici, and Torre del Greco. With a guide, we proceeded, by the light of candles and torches, until we came to this subterranean theater, which had been filled with volcanic materials. I do not call it lava, because there is every reason to believe that, like Pompeii, Herculaneum was buried by pumice, cinders, ashes, lapilli and sand. There has been much discussion on this subject; but had the buildings of Herculaneum been inclosed in heated lava, it is obvious that every fresco painting and marble would have been destroyed, and much more, the numerous papyri and other substances of an organic character, which have been found there. Now it happens that the frescoes of Herculaneum, so far as it has been uncovered, are not only of a higher character in respect of art than those in Pompeii, but also in better preservation. The solidity of the material enveloping Herculaneum is easily understood, when we remember that it has been for over seventeen hundred years under the enormous pressure of seventy or eighty feet of superincumbent rock. Since the catastrophe of August, A. D. 79, numerous flows of molten lava have passed over the site of Herculaneum; and these successive accumulations have amounted to the thickness just named. Add the effects of water, dissolving lime and silica, and infiltrating these materials among the loose pumice, and we see cause enough to account for the solidification of these loose materials. Moreover, no sluggish and semi-viscid lava (such as the Vesuvian lavas a short distance from their outlet always are) could ever have entered all the intricate passages of the theater and other buildings; while a fluid magma of volcanic mud would act in the same situation just as it is now found, like plaster of Paris in a mold.
“When we see with what labor and expense the excavations have been made in Herculaneum, and how difficult it is to dispose of the materials, which must be borne a long way through narrow passages like the galleries of a mine, and raised nearly one hundred feet to the surface, where a populous town forbids the accumulation of rubbish; we are the more easily reconciled to the suspension of the labor, and to the throwing of the fragments into cavities that had been previously excavated, and from which all interesting matters had been removed.
“Discoveries in Herculaneum have been very numerous, but are so similar to those made in Pompeii that it is unnecessary to go much into detail beyond what has been already mentioned. This city being, in fact, contemporary with Pompeii, we should, of course, expect to find great similarity. It would seem, however, to have been a grander city, and probably more populous. It has been computed that the theater would contain ten thousand people, which would imply a large population. Two temples were discovered, one of them one hundred and fifty feet by sixty. This contained a statue of Jupiter. Opposite to this was another building of two hundred and twenty-eight feet by one hundred and thirty-two, supposed to have been constructed for the courts of justice. It had a colonnade supporting a portico; its pavement was of marble, its walls were frescoed, and there were bronze statues standing between the forty-two columns that supported the roof.
“The theater is now the only public place that can be seen in Herculaneum, and the excavations have brought its form very distinctly into view. Its marble seats and the pit have been so far cleared, that we distinctly comprehend the design and plan. The galleries of access from the streets, and some of the rooms that were appendages of the theater, have been opened. It appears to have had two principal gates and seven entrances, called vomitories. Many statues, and mosaics, and frescoes, have been found in Herculaneum, and some of them, especially the statues, are of surpassing beauty. We were desirous to see the famed impression of a mask, and by holding a candle near to it the form could be distinctly seen. The impression is in concave, and is that of a strongly marked face of an adult; the copy is well defined, and corresponds perfectly with a molding made by soft aqueous materials, and not at all to one made by lava.