Part 6

On the other side of the atrium also follow rooms for the household; there, close to a staircase by which the upper story was reached, a passage leads to two chambers of uncertain destination. Noteworthy is a fountain beside the staircase, by means of which the water could be drawn directly for the upper story.

Out of the atrium in front of which in this instance no tablinum is placed, we at once pass into the peristyle, the principal apartment of the house, the portico of which is supported by seven columns on the longer sides and four on the shorter; by this the garden is enclosed. On the southeast, in the first place two rooms open on the peristyle, and on the north two others, of which one, the large Oecus, is a principal apartment of the building, further on the east is a triclinium. From the peristyle a small suite of rooms is also accessible, which, not without plausibility, have been designated women’s apartments; here again a small garden is found. Let this suffice for the orientation of the discovered chambers. How then as to their decoration?

The possessor of the property has evidently set no store by the decoration of the pavement, for the better class of mosaic has nowhere been employed, but the floor consists almost exclusively of stucco in which small bits of marble have been inserted. All the more richly are the walls ornamented.

Just as we go in (to say nothing of smaller pictures) there is seen on the pilaster at the entrance to the atrium a Priapus. Pictures of this kind were usually placed just at the entrance of a building in order to avert disaster and the evil eye. The walls of the atrium, owing to the numerous openings leading from it to the surrounding rooms, are almost entirely broken up into mere pilasters, which however display a style of painting systematically arranged. Above an imitation of marble reaching to no great height, rises the yellow plinth, in which are inserted pictures on a red ground; there we see boys bringing dishes with fruits, others playing with parrots or guinea fowl, carrying glass jugs and dishes; another raises the cover of a vessel to spy curiously into its contents, again another tastes the contents of the vessel entrusted to his care, others seem equipped for a festival, they are clad in gala fashion and decked out with garlands, they hold garlands too in their hands. Above this plinth there next comes a small field of black, displaying Cupids in their merry pranks as imitators of human pursuits. Here one has harnessed a ram to a chariot, another has his carriage drawn by two dolphins (fig. 120). A sacrifice to Fortune too is offered by the little rogues with all earnestness; again a duel between two hero Loves is depicted with every truth of detail; bestriding goats and armed with shield and lance they charge each other, but while one at full gallop couches his lance against his adversary, the latter, causing his steed to swerve, seems to avoid the blow; two other Loves attend the duel on foot. Another picture must certainly contain the continuation of this warfare; one has fallen with his steed, and in this helpless condition is sorely maltreated not only by his original opponent, but also by his seconds, while his own second has made off. Again a race is represented, but as fiery coursers dolphins are harnessed to the chariots. A highly droll effect is produced by a Cupid mounted on a crab (fig. 119) and another on a locust, who urges his steed on with whip and rein. Then the Cupids are busy hunting butterflies, in short every pursuit of adult and child is imitated by them in their bright busy way, but with all the seriousness that the situation demands. Above the moulding adorned with masks and lionheads by which the upper part of the wall is divided from the lower, there follow now in an upward direction red (partly burnt black) stripes, with columns and candelabra (fig. 121). The vases out of which these grow are apparently richly adorned with reliefs. Behind them are introduced balustrades, to which steps lead up; above they support large hoops, on which figures are seated. A somewhat larger wall surface is preserved only behind the strongbox on the right, here is seen above the plinth a hunting scene on a larger scale. Hounds are pursuing a wild boar and a bear, others have pulled down a stag; then comes a stripe with two Psyches, who bring fruits in baskets and empty them into other baskets.

The little room by the ostium displays in its plinth again an imitation of marble, above this the wall is painted yellow with white panels framed with green, in the middle of each of which is introduced a picture. On the wall lying to the left of the entrance is the abandonment of Ariadne on Naxos. The fair one deserted by Theseus at the bidding of the gods is, as it seems, just awaked from slumber. Astonished and terrified at being forsaken she lays her left hand on her chin, while an Eros in order to bring her to understand her position points to the ship of Theseus speeding away with sail full set. The second picture is unfortunately destroyed, the slab of stucco bearing it was in antiquity fastened on the wall with a series of nails. The picture on the third wall represents the well-known adventure of Hero and Leander (fig. 122). Besides these more important pictures there are birds pecking fruit; above these comes a zone of water with fish and other marine fauna, crowned by architecture represented in perspective, on detached portions of which hanging baskets and drinkinghorns are introduced, and also wild beasts chasing one another. The room was once vaulted.

A richer decoration is to be seen in the paintings of the next room towards the south, a triclinium: here the plinth is yellow and ornamented with garlands, arabesques, hanging masks _etc._; above come white panels, between which rises architecture with seated and recumbent sphinxes. Of larger pictures only two are preserved; of the other two one was destroyed, probably before the eruption of Vesuvius, while the other fell a sacrifice to the diggers for treasure who after the destruction of Pompeii lawfully or unlawfully explored the abandoned houses, and for this purpose knocked holes through the walls. On the side opposite the entrance the wrestling match between Eros and Pan is represented, on the entrance side, Cyparissus and his hind (fig. 123). Above these panels decorated with pictures comes a cornice plastically constructed, higher still than this rise fresh architectural forms comprising in their midst a broad exedra, with the fore-part of a building approached by three steps. The central panels are devoted to the representation of Jupiter and his mortal favourites, there is seen on the right of the entrance Jupiter in youthful form seated on his throne, while the other walls show Leda, Danaë, and a third lady. But also the side panels, the out buildings made accessible by stairs, are decorated with figures mostly taken from the Bacchic cycle.

On the other side of the ostium the picture of the Lares (fig. 124) demands a brief notice. In the little temple supported by two Corinthian columns and crowned by a pediment stands the Genius holding patera and incense box. To right and left of him are painted the two Lares, who symmetrically carry in one hand a bucket in the other a drinkinghorn. Beneath them is observed the serpent that in many a curve approaches the altar richly furnished with offerings. The remaining apartments, with the exception of the cook’s bedroom, are without painting.

The two cubicles lying west of the strongboxes have only unimportant decorations; both alae display a black plinth enlivened by green shrubs, and have above yellow panels with red borders, and having in the centre small representations of still life; of these a cockfight executed in a most lively style merits special attention. Beside a herm stands a table with a large vessel; there stand two cocks, preparing themselves for the fight; a third, the defeated one, lies under the table, while the fourth, the conqueror, proudly marches off to the right, with a twig of palm in his beak.

The peristyle has a black plinth decorated alternately with green plants and vases (the pyramids of ivy there represented are now imitated in nature in the garden of the peristyle). Above come alternately large black panels framed in red, and fantastic pieces of architecture on a white ground, which are bounded beneath by a yellow slab with green or dark red border. The figure compositions introduced in the centres of the panels consist for the most part of still life, to which fish, fowls _etc._ contribute material, though there is no lack of more important figures. To these belongs above all that of a thick-set man who sits beside a chest filled with books. Scientific efforts are suggested also by the figure of a Urania, who represented as though in the act of imparting information, points with her staff to the celestial globe lying before her (fig. 142); otherwise the decoration of the hall is supplied by Satyrs and Bacchanals and the winged female figures so frequently employed in Pompeii, together with the attributes of various deities.

Much more important however than these wall-paintings of the portico are the sculptures which have been preserved in the enclosed garden (fig. 125). In all four corners, and further at the second and third columns of the narrower sides and the fourth and fifth of the long sides there were once statuettes, twelve therefore in all, of which nine are still preserved in their original position (fig. 126), while two were removed to other parts of the building for repair. All these statuettes, of which two are of bronze, the rest of marble, served for fountains. The water either came directly out of them, or branch pipes of the aqueduct were so laid on to them that it seemed as though the water came from them; between them are placed several troughs and receptacles of marble, which by their graceful shapes and beautiful ornaments make a pleasing impression. The conduit too, save for slight damage, was in such good repair that it has been found possible to renew the play of the waters by means of a reservoir placed on the roof. Marble tables between the columns and within the garden that is still quite clearly marked out in beds, as well as two ivy-encircled marble pedestals on each of which rests a double bust (fig. 127) contribute in no slight measure to make the whole peristyle most charming, and indeed a spot as yet unique in Pompeii.

A series of apartments too open on the peristyle, and in the first place a triclinium. On a low foundation of imitation marble rises the dark red plinth, over which again mounts a fanciful style of architecture, leaving space in the centre for a sort of canopy. The smaller pictures executed soberly in monochrome fall into the background behind the large ones occupying the centre of the wall. Of these large pictures the first is Hercules strangling the serpents (fig. 128). The child Hercules has seized both the serpents sent by Juno, and is throttling them, while his mother flies in terror, and Amphitryo, his earthly father, is in the act of hastening to the rescue. Yet the sight which presents itself to him checks any further action, he sees that the child needs no help against the wretched snakes: astonished and thoughtful he lays his right hand on his chin, and he has every reason to be full of thoughts, for he could not have expected such bravery from his own son. Jupiter in the meantime has despatched his eagle to receive information as to his hero son. The subject of the second picture is the punishment of Pentheus. The third picture also is taken from a Theban myth, it represents the punishment of Dirce, and corresponds to the well-known group of the so-called Farnese Bull.

In like manner the corresponding room to the north of the _Ala dextra_, which also opens its whole width on the peristyle, displays rich ornament on the walls. In the plinth there is again an imitation of marble, above in the middle is a red panel with a large square picture, next is on each side a blue panel with the usual fantastic architecture; then comes on both the longer sides a white panel. In the centre of each of the three wallsurfaces a painting of larger size is placed: first Daedalus and Pasiphae (fig. 129). The ingenious craftsman has prepared the wooden cow as commissioned by the spouse of Minos, and now the queen comes into the master’s studio to inspect his work. The second picture treats of the punishment of Ixion. Mercury has delivered over the miscreant to punishment, and Vulcan is just fastening him to the wheel; vainly the mother or wife of Ixion implores Mercury to have mercy; for even if he on his own account were inclined to grant her prayer, yet this would be prevented by the presence of Juno, who in queenly state has appeared with Iris to take note of the due exaction of punishment (fig. 130).

While the connecting idea of both these pictures, viz unlawful love and its punishment, is clear enough, the third picture, the finding of Ariadne by Bacchus and his following, falls somewhat outside this range of thought. I believe however that critics have gone too far in their efforts to discover a harmonious unity of idea for the paintings of a room. That the owner of the house might often demand of the artist to see that a single harmonious train of thought was carried throughout a room, is of course easily understood, but on the other hand it is again quite clear that in the often great number of rooms to be decorated the whole mythology was more or less drawn upon, and that frequently the number of subjects at command, and therefore chance, determined the choice of the pictures. So we cannot be surprised if we see the Deliverance of Ariadne placed with pictures treating of the punishment of unlawful love. Ariadne in her grief at being deserted by Theseus, whose ship is still seen in the distance, has sunk into a slumber that frees her from care: then Bacchus with his followers approaches, who will raise Ariadne to be his bride.

The side panels of this room also are adorned with paintings, which though of smaller proportions are nevertheless well worth our notice. These are oblong pictures of ships. Two to four strongly manned vessels are represented, which rowed at full speed hasten against one another, and by clever turnings seek to escape the enemy’s onset, the dangerous blow with the ship’s beak. On the shorter sides the corresponding positions are occupied by subjects of still life (birds with fruit, and so on). Above these come flying figures arranged in pairs, swinging garlands over their heads: they are probably intended for the Four Seasons; above comes again architecture with figures.

The most splendid room however and the most interesting in the house is, next to the garden of the peristyle, the large Oecus, which is connected by a wide doorway with the portico, and by a small door with another chamber devoid of ornament. The groundcolour of the whole room is in the lower portion red and black, the plinth is sober black and adorned with floral arabesques, above, however, the walls are red, with black stripes. Beneath each vertical black stripe a picture is introduced on the plinth, generally Amazons in warlike guise, buckler and battleaxe in hand, but also Satyrs, Maenads, persons offering sacrifice, _etc._ Over these figures comes a small oblong picture, usually Psyches gathering flowers (fig. 131), here and there, however, mythological scenes also are inserted. Three of these are preserved, first Orestes and Pylades in Tauris. To the left sits Orestes, near him is Pylades, towards them Iphigenia advances with the image of Diana, on the right king Thoas is seated on a throne. The second picture represents the triumph of Apollo over the serpent Pytho. The god has killed the snake which guarded the sanctuary at Delphi; proud of his victory he seized the lyre to sound the first paean in praise of the omnipotence of the gods, and to his own especial glory; in his honour the goddess of the place brings a bull, who is to fall as a sacrifice. The third relates presumably to the sacrifice of Iphigenia in Aulis. Before an altar, on which fire is burning, stands a woman with bowl and chalice, from which she seems to besprinkle a hind standing in front of her. From the right of the altar a wide-striding warrior hastens up with drawn sword; a female figure wearing a wreath hurries away to the left, evidently terrified at the warrior’s action. The rendering varies from others relating to the same myth, yet scarcely any other interpretation is left. That Iphigenia is not herself introduced, but only the hind, may be pronounced remarkable, though why should not the painter have hit upon this means of representing the sudden change, especially if the other pictures in the room (cf. no. 1 of this series, Orestes and Pylades in Tauris) made the relations clear?

The horizontal black bands beneath the red panels are occupied by Erotes and Psyches, who with a naturally bright earnestness and conscientiousness imitate the employments of daily life, chiefly the exercise of certain trades, so that these bands may be reckoned among the most interesting of Pompeii’s pictures. Here we have in the first place the representation of a game, Erotes are busied in throwing balls at a board. Further the manufacture and sale of garlands. Here flowers are brought to the city by the gardener and his son, there others are busy with the preparation of garlands, while on the left haggling is going on about the finished garlands. Then follows the production of oil, and the ointments prepared therefrom. A race too is introduced (fig. 133); four Erotes distinguished by the four colours of the Circus drive chariots harnessed with gazelles. On this follows the representation of the goldsmith’s art, further that of the fuller’s work, so important for ancient cities: two Erotes tread in a vat the clothes to be cleaned, after this comes the removing of stains and the brushing, or the raising the nap of the clothes, still further on the clothes that have been cleaned are submitted to a thorough inspection by Psyches. The following picture, the festival of Vesta, representing the so-called _Vestalia_ is pretty well ruined, Erotes and Psyches are reclining on the ground at a merry feast, and even the much tormented donkeys have for once some rest. The next picture too is not well preserved; on the left the vintage is represented, on the right the wine-press. On the vintage follows the triumph of Bacchus, who is of course represented by an Eros. The close of this series, so damaged unfortunately in several of its scenes, is formed by the tavern with the sale of wine (fig. 132). On the left stand a number of amphoras just as they are still often found in Pompeii leaning on the wall in a somewhat slanting position, in front of them stands mine host in an easy posture, while he offers to his customer, who carries a little stick, a bowl of wine to taste; two other Erotes are busy in drawing wine for another sample from an amphora in a horizontal position.

In the centre of the red panels flying couples are depicted, derived from mythology; we note, however, the want of freedom in choice which the requirement as to pictures has imposed on the artist; here, as in the War against the Giants at Pergamon, the whole force, so to speak, has been mobilised. The figures preserved are those of Poseidon with an inamorata, of Apollo with Daphne, of Bacchus with Ariadne, and of Perseus with Andromeda.

In the centre of each wall there was also a large picture, these however have not survived. On the other hand the upper part of the wall above the red panels framed in black is still partly preserved; we see here again new structures rising, which were peopled by numerous figures, chiefly derived from the entourage of Bacchus.

Now it remains to describe the small space set apart for the ladies. Here too the walls are adorned with paintings which attract less attention only because the abundance of treasures offered to our gaze in the Casa dei Vettii leaves scarcely time or inclination for the smaller works of art. The first room has a black plinth, with green shrubs and flowers as ornament, over this red panels separated by white stripes; in the centre of each panel is a fabulous creature. Here a Pegasus grazing beside a wall and the attributes of Athena is most deserving of notice. The second room has black walls with white bands, which as it were open up a view into the open air with trees &c. In the centre of each wall there was originally a large picture, now however only two are left; first the Discovery of Achilles in Scyros, where Ulysses and Diomedes by a stratagem detect Achilles disguised in woman’s clothing among the daughters of Lycomedes, and induce him to take part in the expedition against Troy (fig. 134). The second picture represents Hercules and Auge.

Next to these large wall-pictures, medallions with flying female forms are placed on the side panels. It may be stated in passing that throughout the whole mansion the medallions always prove to have been separately inserted: clearly these pieces were produced by the artists on slabs of stucco and kept in stock, so that during the preparation of a wall they had simply to be let into it. Hence we cannot be surprised if the medallions sometimes betray a style more or less at variance with the other decorations of the wall.

Such are the paintings of the house known as _Domus Vettiorum_, a house that in the number of pictures which are placed in it, and in the beauty and grace of its peristyle, excels without doubt all other houses as yet excavated. Of course we have not always to do with masters of the first rank; should we ask as to the origin of the pictures and how they had come to a little provincial town like Pompeii, several hands that had been employed upon them might easily be distinguished. Taken as a whole however the wall decorations are unique; nay with regard to individual representations, above all in the case of the frieze of Cupids in the Oecus, one can pronounce only a favourable judgement, especially when one sees how lightly and naturally, and yet with what a sure hand, and how characteristically, the pictures have been conceived and executed. If ordinary decorative painters produced such wall decoration for a small provincial town, what triumph of art must have graced the mansions of the leading men in the great cities! We have indeed a specimen of these in what is called the House of Livia on the Palatine, and in the _Domus Transtiberina_, the remains of which are exhibited in the Baths of Diocletian; these, however, are but insignificant fragments as compared with the vast mass of that which has been irretrievably lost.