allel to the slope of the ground, a unique instance, as we believe, of such a construction.

The doors of several shops in this street have left perfect impressions on the volcanic deposit, by which it appears that the planks of which they were made lapped one over the other, like the planks of a boat.

Although the houses that line this street have now been cleared, there still remains a large unexcavated space on its southern side. The only house requiring notice is that called the Casa del Cinghiale, or House of the Wild Boar, a little way down on the right-hand side in going from the Forum. Its name is derived from the mosaic pavement of the prothyrum, representing a boar attacked by two dogs. The house is remarkable for its well-preserved peristyle of fourteen Ionic columns, with their capitals. On the right is a brick staircase leading to a large garden. The atrium is bordered with a mosaic representing the walls of a city with towers and battlements, supposed by some to be the walls of Pompeii.

Just beyond this house is a small street or lane, turning down to the right, called the Vicolo dei Dodici Dei, from a painting on the outside wall of the corner house, in the manner of a frieze, representing the twelve greater divinities. Below is the usual painting of serpents. At the corner of the quadrivium is the apothecary's shop, in which was a large collection of surgical instruments, mortars, drugs, and pills. The house is not otherwise remarkable.

Of the early excavations at the southern extremity of the town few records are preserved. In the Quarter of the Theatres, besides the public buildings, there are but two houses of any inThese occupy the space between the Temple of Æsculapius and the small theatre. The easternmost of them is one of the most interesting yet discovered in Pompeii, not for the beauty or curiosity of the building itself, but for its contents, which prove

terest.

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it to have been the abode of a sculptor. Here were found statues, some half finished, others just begun, with blocks of marble, and all the tools required by the artist. Among these were thirty-two mallets, many compasses, curved and straight, a great quantity of chisels, three or four levers, jacks for raising blocks, saws, etc., etc. The house has the usual arrangement of atrium, tablinum, and peristyle, but, owing to the inclination of the ground, the peristyle is on a higher level than the public part

SCULPTOR'S LABORATORY.

of the house, and communicates with it by a flight of steps. A large reservoir for water extended under the peristyle, which was in good preservation when first found, but has been much injured by the failure of the vault beneath.

Returning by the southernmost of the two roads which lead to the Forum, we find, beside the wall of the triangular Forum as it is called, one of the most remarkable houses in Pompeii, if not for its size, at least for its construction.

The excavations here made were begun in April, 1769, in the presence of the Emperor Joseph II., after whom this house has been named; but after curiosity was satisfied, they were filled up again with rubbish, as was then usual, and vines and poplars

covered them almost entirely at the time when Mazois examined the place, insomuch that the underground stories were all that he could personally observe. The emperor was accompanied in his visit by his celebrated minister, Count Kaunitz, the King and Queen of Naples, and one or two distinguished antiquaries. This was one of the first private dwellings excavated at Pompeii. It appears to have been a mansion of considerable magnificence, and, from its elevated position, must have commanded a fine view over the Bay of Naples towards Sorrento. The "find" was so good on the occasion of the emperor's visit, as to excite his suspicion of some deceit. The numerous articles turned up afforded Sir W. Hamilton an opportunity to display his antiquarian knowledge. Joseph appears to have been rather disgusted on hearing that only thirty men were employed on the excavations, and insisted that three thousand were necessary. We give a cut of the house, page 119.

FIRST WALLS DISCOVERED IN POMPEII.

AMUSEMENTS.

THE AMPHITHEATRE stands some hundred yards from the theatres, in the south-eastern angle of the walls of the town Although, perhaps, of Etruscan origin, the exhibitions of the amphitheatre are so peculiarly Roman, and Pompeii contains so many mementos of them, that a detailed account of them will not perhaps be misplaced. At an early period, B. C. 263, the practice of compelling human beings to fight for the amusement of spectators was introduced; and twelve years later the capture of several elephants in the first Punic war proved the means of introducing the chase, or rather the slaughter, of wild beasts into the Roman circus. The taste for these spectacles increased of course with its indulgence, and their magnificence with the wealth of the city and the increasing facility and inducement to practice bribery which was offered by the increased extent of provinces subject to Rome. It was not, however, until the last period of the republic, or rather until the domination of the emperors had collected into one channel the tributary wealth which previously was divided among a numerous aristocracy, that buildings were erect ed solely for the accommodation of gladiatorial shows; buildings entirely beyond the compass of a subject's wealth, and in which perhaps the magnificence of imperial Rome is most amply dis