Previous to our description of this house, it may be well to convey to the reader a general notion of the houses of Pompeii, which he will find to resemble strongly the plans of Vitruvius; but with all those differences, in detail, of caprice and taste which, being natural to mankind, have always puzzled antiquaries. We shall endeavor to make this description as clear and unpedantic as possible.
You enter then, usually, by a small entrance passage (called vestibulum) into a hall, sometimes with (but more frequently without) the ornament of columns; around three sides of this hall are doors communicating with several bed chambers, (among which is the porter's,) the best of these being usually appropriated to country visiters. At the extremity of the hall, on either side to the right and left, if the house is large, there are two small recesses, rather than chambers, generally devoted to the ladies of the mansion; and in the centre of the tesselated pavement of the hall is invariably a square shallow reservoir for rain water (classically termed impluvium,) which was admitted by a hole in the roof above; the said aperture being covered at will by an awning. Near this impluvium, which had a peculiar sanctity in the eyes of the ancients, were sometimes (but at Pompeii more rarely than at Rome) placed images of the household gods; the hospitable hearth, often mentioned by the Roman poets, and consecrated to the Lares, was, at Pompeii, almost invariably formed by a moveable brasier; while in some corner, often the most ostentatious place, was deposited a huge wooden chest, ornamented and strengthened by bands of bronze or iron, and secured by strong hooks upon a stone pedestal so firmly as to defy the attempts of any robber to detach it from its position. This chest was supposed to be the money-box or coffer of the master of the house; though, as no money has been found in any of the chests discovered at Pompeii, it is probable that it was sometimes rather designed for ornament than use.
In this hall (or atrium, to speak classically) the clients and visiters of inferior rank were usually received. In the houses of the more "respectable," an atriensis, or slave peculiarly devoted to the service of the hall, was invariably retained, and his rank among his fellow slaves was high and important. The reservoir in the centre must have been rather a dangerous ornament, but the centre of the hall was like the grass-plat of a college, and interdicted to the passers to and fro, who found ample space in the margin. Right opposite the entrance, at the other end of the hall, was an apartment (tablinum,) in which the pavement was usually adorned with rich mosaics, and the walls covered with elaborate paintings. Here were usually kept the records of the family, or those of any public office that had been filled by the owner: on one side of this saloon, if we may so call it, was often a dining room, or triclinium; on the other side, perhaps, what we should now term a cabinet of gems, containing whatever curiosities were deemed most rare and costly; and invariably a small passage for the slaves to cross to the farther parts of the house without passing the apartments thus mentioned. These rooms all opened on a square or oblong colonnade, technically termed peristyle. If the house was small, its boundary ceased with this colonnade, and in that case its centre, however diminutive, was ordinarily appropriated to the purpose of a garden, and adorned with vases of flowers placed upon pedestals, while under the colonnade, to the right and left, were doors, admitting to bed rooms,1 to a second triclinium, or eating room, (for the ancients generally appropriated two rooms at least to that purpose, one for summer and one for winter, or perhaps one for ordinary, the other for festive occasions;) and if the owner affected letters, a cabinet, dignified by the name of library,—for a very small room was sufficient to contain the few rolls of papyrus which the ancients deemed a notable collection of books.
1 The Romans had bed rooms appropriated not only to the sleep of night, but also to the day siesta (cubicula diurna.)
At the end of the peristyle was generally the kitchen. Supposing the house was large, it did not end with the peristyle, and the centre thereof was not in that case a garden, but might be perhaps adorned with a fountain, or basin for fish; and at its end, exactly opposite to the tablinum, was generally another eating room, on either side of which were bed rooms, and perhaps a picture saloon, or pinatheca.2 These apartments communicated again with a square or oblong space, usually adorned on three sides with a colonnade like the peristyle, and very much resembling the peristyle, only longer. This was the proper viridarium or garden, being usually adorned with a fountain, or statues, and a profusion of gay flowers: at its extreme end was the gardener's house; on either side beneath the colonnade were sometimes, if the size of the family required it, additional rooms.
2 In the stately palaces of Rome, the pinatheca usually communicated with the atrium.
At Pompeii, a second or third story was rarely of importance, being built only above a small part of the house, and containing rooms for the slaves; differing in this respect from the more magnificent edifices of Rome, which generally contained the principal eating room (or coenaculum) on the second floor. The apartments themselves were ordinarily of small size: for in those delightful climes they received any extraordinary number of visiters in the peristyle (or portico,) the hall, or the garden; and even their banquet rooms, however elaborately adorned and carefully selected in point of aspect, were of diminutive proportions; for the intellectual ancients, being fond of society, not of crowds, rarely feasted more than nine at a time, so that large dinner rooms were not so necessary with them as with us.3 But the suite of rooms seen at once from the entrance must have had a very imposing effect; you beheld at once the hall richly paved and painted—the tablinum—the graceful peristyle, and (if the house extended farther) the opposite banquet room and the garden, which closed the view with some gushing fount or marble statue.
3 When they entertained very large parties, the feast was usually served in the hall.
The reader will now have a tolerable notion of the Pompeian houses, which resembled in some respects the Grecian, but mostly the Roman, fashion of domestic architecture. In almost every house there is some difference in detail from the rest, but the principal outline is the same in all. In all you find the hall, the tablinum, and the peristyle communicating with each other; in all you find the walls richly painted, and in all the evidence of a people fond of the refining elegancies of life. The purity of the taste of the Pompeians in decoration is however questionable: they were fond of the gaudiest colors, of fantastic designs; they often painted the lower half of their columns a bright red, leaving the rest uncolored; and where the garden was small, its wall was frequently tinted to deceive the eye as to its extent, imitating trees, birds, temples, &c. in perspective—a meretricious delusion which the graceful pedantry of Pliny himself adopted, with a complacent pride in its ingenuity.
But the house of Glaucus was at once one of the smallest, and yet of the most adorned and finished, of all the private mansions of Pompeii; it would be a model at this day for the house of "a single man in Mayfair"—the envy and despair of the coelibian purchasers of buhl and marquetrie.