You enter by a long and narrow vestibule, on the floor of which is the image of a dog in mosaic, with the well known "cave canem," or "beware the dog." On either side is a chamber of some size; for the interior house not being large enough to contain the two great divisions of private and public apartments, these two rooms were set apart for the reception of visiters who neither by rank nor familiarity were entitled to admission in the penetralia of the mansion.
Advancing up the vestibule, you enter an atrinum, that when first discovered was rich in paintings, which in point of expression would scarcely disgrace a Raphael. You may see them now transplanted to the Neapolitan Museum; they are still the admiration of connoisseurs; they depict the parting of Achilles and Briseis. Who does not acknowledge the force, the vigor, the beauty! employed in delineating the forms and faces of Achilles and the immortal slave!
On one side the atrinum, a small staircase admitted to the apartments for the slaves on the second floor; there too were two or three small bed rooms, the walls of which portrayed the rape of Europa, the battle of the Amazons, &c.
You now enter the tablinum, across which at either end hung rich draperies of Tyrian purple, half withdrawn.4 On the walls were depicted a poet reading his verses to his friends; and in the pavement was inserted a small and most exquisite mosaic, typical of the instructions given by the director of the stage to his comedians.
4 The tablinum was also secured at pleasure by sliding doors.
You passed through this saloon and entered the peristyle; and here (as I have said before was usually the case with the smaller houses of Pompeii) the mansion ended. From each of the seven columns that adorned this court hung festoons of garlands; the centre, supplying the place of a garden, bloomed with the rarest flowers, placed in vases of white marble, that were supported on pedestals. At the left end of this small garden was a diminutive fane, resembling one of those small chapels placed at the side of roads in Catholic countries, and dedicated to the Penates; before it stood a bronze tripod; to the left of the colonnade were two small cubiculi or bed rooms; to the right was the triclinium, in which the guests were now assembled.
This room is usually termed by the antiquaries of Naples, "the chamber of Leda;" and in the beautiful work of Sir William Gell, the reader will find an engraving from that most delicate and graceful painting of Leda presenting her new-born to her husband, from which the room derives its name. This beautiful apartment opened upon the fragrant garden. Round the table of citrean5 wood, highly polished and delicately wrought with silver arabesques, were placed the three couches, which were yet more common at Pompeii than the semi-circular seat that had grown lately into fashion at Rome; and on these couches of bronze, studded with richer metals, were laid thick quiltings covered with elaborate broidery, and yielding luxuriously to the pressure.
5 The most valued wood; not the modern citron tree. Some, among whom is my learned friend Mr. W. S. Landor, conjecture it, with much plausibility, to have been mahogany.
"Well, I must own," said the ædile Pansa, "that your house, though scarcely larger than a case for one's fibulæ, is a gem of its kind. How beautifully painted is that parting of Achilles and Briseis!—what a style!—what heads!—what a—hem!"
"Praise from Pansa is indeed valuable on such subjects," said Clodius, gravely. "Why, the paintings on his walls—ah! there is, indeed, the hand of a Zeuxis!"