Atrium of a Pompeian house.
Atrium of a house in Pompeii.
As outside the columns, the coving roof leaves a large square opening in its centre, called the impluvium, there is drawn across it a curtain, or veil of dark canvas, which keeps out the sun and rain. An artificial twilight therefore alone enables us to see all that we have described; but it gives greater effect to what is beyond. Through an arch, opposite to the one whereby we have entered, we catch a glimpse of an inner and still richer court, paved with variegated marbles, and adorned with bright gilding. The veil of the opening above, which, however, here is closed with thick glass or talc (lapis specularis), has been partly withdrawn, and admits a bright but softened ray from the evening sun on to the place, where we see, for the first time, that we are in no enchanted hall, but in an inhabited house.
Beside a table, just outside the columns of Phrygian marble, sits a matron not beyond the middle of life, whose features, noble yet mild, show traces of having passed through sorrow at some earlier period. But a powerful influence has subdued the recollection of it, or blended it with a sweeter thought; and the two always come together, and have long dwelt united in her heart. The simplicity of her appearance strangely contrasts with the richness of all around her; her hair, streaked with silver, is left uncovered, and unconcealed by any artifice; her robes are of the plainest color and texture, without embroidery, except the purple ribbon sewed on, and called the segmentum, which denotes the state of widowhood; and not a jewel or precious ornament, of which the Roman ladies were so lavish, is to be seen upon her person. The only thing approaching to this is a slight gold cord or chain round her neck, from which apparently hangs some object, carefully concealed within the upper hem of her dress.
At the time that we discover her she is busily engaged over a piece of work, which evidently has no personal use. Upon a long rich strip of gold cloth she is embroidering with still richer gold thread; and occasionally she has recourse to one or another of several elegant caskets upon the table, from which she takes out a pearl, or a gem set in gold, and introduces it into the design. It looks as if the precious ornaments of earlier days were being devoted to some higher purpose.
Clepsydra, or Water-clock, from a bas-relief in the Mattei palace, Rome.
But as time goes on, some little uneasiness may be observed to come over her calm thoughts, hitherto absorbed, to all appearance, in her work. She now occasionally raises her eyes from it towards the entrance; sometimes she listens for footsteps, and seems disappointed. She looks up towards the sun; then perhaps turns her glance towards a clepsydra or water-clock, on a bracket near her, but just as a feeling of more serious anxiety begins to make an impression on her countenance, a cheerful rap strikes the house-door, and she bends forward with a radiant look to meet the welcome visitor.
