If we wished to give a description of all the treasures found in those ancient abodes, we might fill volumes, and therefore we will only mention some of the most remarkable features of the recent excavations. One picture has been exhumed at Pompeii, representing the Three Graces, which Raphael, of course, could not possibly have seen, yet the two compositions, although of different dimensions, are precisely the same—in grouping, in form, in expression, and even in charm. Now, not even a sketch of the picture was known until long after the middle of the eighteenth century, while the actual picture is a modern revelation altogether. Another fact was discovered: Raphael, copying a statue, applied the very same process to his painting which had been employed by his predecessors fifteen centuries previously. Within the last few years, forty figures have been redeemed from out these artistic tombs, which were evidently details of an immense composition, intended for the adornment of a theater or banqueting-hall, besides those, pictures of lightly-clad figures, floating through the air, relieved against brown, black, and crimson skies, with masses of carnation-cloud beneath their feet, and gems hanging, so to speak, around them, enveloped in robes of hyacinth, blue, green, and so on, the colors appearing to be laid thickly on vitrified surfaces. It is a wonder to all artists how those colors were laid on, not only as far as the magnificent coloring goes, but even in what way it was done. We find painting in relief on the smoothest surface of white marble; statuary even has been painted in the most masterly way, and we see auburn and blonde hair painted in a way which deceives even the sharpest observer; if we did not know better, we would think that the statue had natural hair,—all the gloss and the true tinge glowing through it is illustrated to absolute perfection.
The Neapolitan chemists, of course, are very eager to unravel this secret of their forefathers. Many a piece of painting has been analyzed; many a fragment of painted beauty has been destroyed by acids. However, till now, they did not succeed, and perhaps the art will be for ever a mystery to us.
Upon the whole, as this antique city is thrown more and more open to modern light, it proves to be the richest memorial extant of Grecian genius, as represented by an art so different from, and still at the same time so kindred to, sculpture. In most other classic centers, while the form and the purity have survived, the color and the splendor have faded; but here, as chamber after chamber, gallery after gallery is opened, a new beauty of the past appears, freshly vivified by the long-excluded light, and, as we are assured, labyrinths of interest remain yet to be explored.
AN ANCIENT WINE-SHOP.
A wine-shop was lately found at Pompeii, roughly ornamented with imitations of marbles in fresco. Over the podium of the front room runs a band of stucco, with four groups or scenes painted on a white ground. The first, on the left, represents a young man kissing a woman dressed in yellow garments, with black shoes. She says, “Nolo, cym myrta” * * “I don’t want to be kissed; go to your Myrtalis.” The second scene represents, very likely, the same woman talking to Myrtalis, who says, “Non mia, est.” They both point their fingers at a third female, bringing in a great wine-jar and a glass. She says, “Qui vol. symat oceane, veni. bibe,” an invitation to partake of the drink. The third scene represents two gamblers seated, having the chess-board on their knees, on which several latrunculi are seen disposed in rows of different colors, yellow, black, white. The one on the left is just throwing the dice, and says, “Exsi,” “I won.” The other answers, pointing to the dice, “Non tria, duas est,” “You have got two, not three.” Both fight in the fourth scene. One says, “Non it a me, tria, ego, fvi,” “I did not throw two, but three. I have won.” The other answers, “Orte fellator ego fvi,” “You ——! I have the game.” At this moment the shop-keeper comes in, and pushing them outside, says, “Itis, foras, riksatis,” “Go out to quarrel.”
XII.
VESUVIUS AND ITS ERUPTIONS.
THE GREAT ERUPTION OF VESUVIUS.—WHAT IT DID.—THREE CITIES WIPED OUT.—LAVA AND ITS CHARACTER.—GOING TO THE MOUNTAIN.—SKIRMISHING WITH GUIDES AND BEGGARS.—ARCHITECTURAL STEEDS.—A HORSE WITH A HAND RAIL AROUND HIM.—COAT-HOOKS TO LET.—A MOTLEY CROWD.—HOW AN AMERICAN WAS MOUNTED.—A NEW MODE OF SPURRING.—THE ROAD FROM RESINA.—BURNING LAVA.—CROSSING THE LAVA BEDS.—CLIMBING ON FOOT.—HAPS AND MISHAPS.—AN ENGLISHMAN’S ACCIDENT.—LIGHTING A CIGAR AT THE CRATER.—SUFFOCATED BY SULPHUR FUMES.—DOWN AMONG THE ASHES.—A LONG FALL AND SLIDE.—IN HERCULANEUM.—UNDERGROUND BENEATH THE CITY.—“LOOK HERE.”—HOW THE CITY WAS DISCOVERED.—THE ERUPTION OF 1872.—HORRIBLE SCENES.—EXTENT OF THE DESTRUCTION.