Due announcement of the appearance of the above new issues of this series will be given hereafter as they approach completion.
FOOTNOTES:
[A] The money accruing from this sale is applied to the Pompeian library mentioned elsewhere.
[B] For sitiat.
[C] These olives which, when found, were still soft and pasty, had a rancid smell and a greasy but pungent flavor. The kernels were less elongated and more bulging than those of the Neapolitan olives; were very hard and still contained some shreds of their pith. In a word, they were perfectly preserved, and although eighteen centuries old, as they were, you would have thought they had been plucked but a few months before.
[D] So strong was this feeling, that the very name inquilinus, or lodger, was an insult. Cicero not having been born at Rome, Catiline called him offensively civis inquilinus—a lodger citizen. (Sallust.)
[E] Let not fingers that are too thick, and ill-pared nails, make gestures too conspicuous.
[F] See note on page 198. (The Footnote [J] of this book.—Transcriber.)
[G] The learned Minervini has remarked certain differences in the washes put on the Pompeian walls. He has indicated finer ones with which, according to him, the ancients painted in fresco their more studied compositions, landscapes, and figures, while ordinary decorations were painted dry by inferior painters. I recall the fact, as I pass on, that several paintings, particularly the most important, were detached, but secured to the wall with iron clamps. It has ever been noticed that the back of these pictures did not adhere to the walls—an excellent precaution against dampness. This custom of sawing off and shifting mural paintings was very ancient. It is known that the wealthy Romans adorned their houses with works of art borrowed or stolen from Greece, and all will remember the famous contract of Mummius, who, in arranging with some merchants to convey to Rome the masterpieces of Zeuxis and Apelles, stipulated that if they should be lost or damaged on the way, the merchants should replace them at their own expense.
[H] "And how the ancients, even the most unskilful, understood the right treatment of nude subjects!" said an eminent critic to me, one day, as he was with me admiring these pictures; "and," he added, "we know nothing more about it now; our statues are not nude, but undressed."