The visitor to Pompeii is but too frequently disappointed at the crumbling condition of the disentombed city; and the majority take little trouble to trace the origin of this first and unfavourable impression. They do not reflect upon the relation between different portions of the ruins, the use or particular object originally served, the custom that produced it, or the former appearance of the details in the harmony of their original arrangement, with the groups of gaily attired inhabitants giving animation to the scene. Like the greater portion of the curious who throng the Elgin Saloon of the British Museum, for the purpose of taking a peep at the mutilated fragments of the marbles contained within its walls, such visitors to Pompeii look for excellencies that do not exist, and a harmony incompatible with the actual condition of the remains; and, discontented at finding things in opposition to their own conceptions, they depart with imperfect and even prejudiced ideas of what they really have beheld. Few arrive at Pompeii with even a general idea of the appearance of an ancient Roman house, and are thus incapable of judging of the actual importance of the crumbling remains of the buried cities.

Repeated visits, and careful and laborious investigation, are necessary for perfect comprehension of the value of the ruins, in guiding the observer towards an accurate idea of the state of the city in its prime. To the careless and the uninitiated these few scattered fragments, snatched from the very jaws of desolation, will afford but a faint reflection of the glory and the triumphs that have for ever passed away.

Such were the persevering studies of Cockerell, Digby Wyatt, Donaldson, Falkener, Gell, Hayes, Mazois, and Zahn; and to their investigations we are indebted for all the conclusions displayed in this interesting building. We behold at a glance the result of the experience of many years, and the combined exertions of our most distinguished architects, and may safely assert that no more agreeable method than that afforded by this reconstruction could be devised for making the public acquainted with the details of a Pompeian house.

NOTE.

In the Atrium are placed two handsome marble benches, such as the clients might have sat upon whilst waiting for audience with their patron. The ends, which are elaborately carved, have been copied from an original model in the Vatican Museum, and the whole has been presented to the Crystal Palace Company by the London Marble Working Company, through their secretary, Mr. Clare.

BRADBURY AND EVANS, PRINTERS, WHITEFRIARS.

[Large plan.]