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 https://archive.org/details/descriptionofsec01burf 
 

 
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DESCRIPTION OF A SECOND VIEW OF 
 
 THE RUINS OF 
 
 POMPEII, 
 
 AND SURROUNDING COUNTRY ; 
 
 REPRESENTING THE 
 
 THE TRAGIC THEATRE, COVERED THEATRE, 
 TEMPLE OF ISIS, SMALL FORUM, 
 
 Now Exhibiting in the 
 
 PANORAMA, LEICESTER-SQUARE : 
 
 Painted , from Drawings taken on the Spot , 
 
 BY MR. BURFORD. 
 
 BONE ADMISSION TICKET TO THE THEATRE. 
 
 LO N DON: 
 
 PRINTED BY J. AND C. ADLARD, BARTHOLOMEW CLOSE. 
 
 1824. 
 
 Price Sixpence. 
 
The grateful acknowledgments of the Proprietors are due 
 to William Hamilton, Es q,., the British Ambassador at 
 Naples , the distinguished Patron of the Fine Arts , whose 
 protection is never withheld, when it can further the interests 
 of Arts and Science. Through the influence of h is Excellency, 
 Mr. Burford was furnished, at Naples, with the requisite 
 permissions and facilities for prosecuting his studies at Pompeii. 
 
 The Proprietors are indebted, for the contents of these 
 pages, to the friendly assistance of Mr. T. Leverton 
 Donaldson, Architect , Member of the Academies of Fine 
 Arts , at Rome, Venice, Milan, and Florence . 
 
 The present View includes that part of the City not seen in 
 the Panorama of the Forum and its Edifices, exhibiting in 
 the Strand . 
 
from 
 
 IN POMPEIf. 
 
 HOUSE 
 
 DESCRIPTION OF POMPEII. 
 
 That Province of Italy, called by the Romans Cam- 
 pania, was situate on the south-west coast, occupying 
 about 60 miles* along the shore, from north to south, 
 and to the westward extending to the Apennines, its plains 
 were justly celebrated by the ancient writers, as com- 
 bining all the luxuries that could be desired ; for this pro- 
 vince did not reach the bleak and barren hills of Calabria ; 
 its mild atmosphere, unlike the confined air of the Etru- 
 rian valley, is fanned by the refreshing breezes of the 
 Tyrrhenian Sea; and its pure climate is not subject, as the 
 Campagna of Rome, to the noxious vapours of pestilential 
 marshes. 
 
 Pompeii, Stabia, and Herculaneum, ranked among the 
 chief of the Campanian Cities, and their foundation was 
 attributed to Hercules. The earlier history of these 
 parts is veiled in fiction, and we only know that the 
 Oscans, Cunneans, Etruscans, and Samnites, were succes- 
 sively masters of this country. This City became, soon 
 after the death of Augustus, a municipal Town of the 
 Roman Empire. After which, we have no notice of 
 its local history, till that calamity, (which deprived Nature 
 of her faithful interpreter, and destroyed Pompeii,) was 
 so powerfully described by the graceful pen of the 
 
 * The Livis, which divided it from the Country of Aruna, bounded it to th« 
 north, and the Cape of Minerva was its limit south raid. 
 
4 
 
 younger Pliny, who gave Tacitus, the Historian, an 
 account of the death of his Uncle, in a letter, of which 
 the following is a translation : — 
 
 u PLINY TO HIS FRIEND TACITUS.” 
 
 ‘‘You request me to recount the circumstances attending my Unde’s 
 death, in order that you may transmit a true account to posterity. I feel 
 obliged by your request, for I foresee that his death, recorded by such an 
 one as yourself, will he remembered to the end of time. For, although 
 his end must long be kept in recollection, inasmuch as it is coupled with 
 the destruction of a beautiful tract of country and of a populous City 
 and though he has himself performed many works, which will long pre- 
 serve his memory from oblivion, yet, by admission into your immortal 
 History, a perpetual duration is secured to his own. Happy they whom 
 the gods have permitted to perform deeds worthy of admission into 
 History, or to compose works worthy of transmission to posterity; 
 supremely happy they, who unite in themselves both these advantages. 
 Such is my Uncle’s favourer! lot, whose memory is kept alive, both by his 
 own and your productions. On this account, I not merely undertake 
 willingly, but. am really pleased with the task you have imposed upon nre. 
 
 “ He was at Misenum, commanding the fleet in person, on the ,9th of 
 the Calends of September (23rd of August), about the seventh hour of 
 the day (one in the afternoon); my mother desired him to observe a cloud 
 of unusual size and appearance. He had been using the bath, and, having 
 taken a slight refreshment, was occupied in reading. He calls for his 
 slippers, and ascends an eminence, whence he may be best able to observe 
 this unusual appearance. A cloud was rising, but on account of its dis- 
 tance, it was uncertain whence it proceeded, but afterwards it was 
 ascertained to have issued from Vesuvius. Its shape much resembled that 
 of a fir tree, for forming, as it were, a long trunk to a considerable height, 
 it divided into several branches. I suppose that this peculiarity of form 
 was caused by the rush of air from within, which carried it up at first in 
 an undivided column; then, as the impulse became weaker, it descended 
 by its weight, and thus acquired a lateral direction. The cloud was some- 
 times perfectly bright, occasionally it wore, a tinged and spotted appear- 
 ance, caused by the earth and ashes, which were emitted. It was a sight 
 that called for the nearer inspection of a scientific man. Accordingly, 
 my uncle ordered a small vessel to be got ready, giving me permission to 
 accompany him, if it met my inclination. I replied, that I had rather 
 pursue my studies, and accomplish a task which he happened to have 
 assigned me. He departed, taking with him a little book, that he might 
 note down remarks. The soldiers attached to the vessels, stationed at 
 Retina, affrighted at the imminent danger, (for the hamlet lay almost 
 under the mountain, and there was no other mode of escape than by sea,) 
 besought him to desist from so hazardous an enterprise. But he con- 
 tinued steady to his purpose, and what he had commenced with a phi- 
 losophical, he determined to pursue with an heroic, mind. He ordered 
 some large vessels of war to be launched, and embarked with the intention 
 of assisting Retina, and many other villas that lay along the coast. Hasten- 
 
5 
 
 ing to the quarter whence others were fleeing, he held his course direct 
 to danger, yet so devoid of fear, that he marked all the changes of the 
 phenomena, and dictated to his secretary, who was taking notes. The 
 vessel was now within range of the ashes ; the nearer it approached, the 
 hotter and thicker they fell. Soon after they perceive the pumice and 
 fragments of stone broken by heat. The surf and rocks prevented their 
 landing. My Uncle hesitated a moment, then exclaimed to the steerman, 
 who was recommending return, ‘ Let us go to the rescue of Pomponianus/ 
 Pomponianus was then at Stabia, a place detached from the main land 
 by an intervening arm of the sea, whose force is broken by the curvature 
 of the shore, and approaches gently. The danger was not immediate, 
 but as it was within view, and not far distant, he had placed his property 
 on board-ship, ready for sailing as soon as the wind should change; but 
 the wind, which was against his own escape, favoured my Uncle’s 
 approach. The latter, on arrival, embraced and cheered his timid friend, 
 and, in order to dispel his fears by an appearance of calmness in his own 
 person, he desired the bath to be prepared, and afterwards sat down to 
 sup with real or (what is equally magnanimous under such circumstances) 
 with assumed hilarity. In the mean time, Vesuvius emitted volumes of 
 flames in various directions, whose glare was occasioned by the darkness 
 of the night. He keeps up the spirits of his companions, by assuring 
 them that the destruction of the villages around, was, in a great measure, 
 occasioned by the culpable fear of their inhabitants, who forsook their 
 homes without endeavouring to oppose the progress of destruction. He 
 then retired to rest and slept soundly, for, being lusty, and consequently 
 breathing hard, he was heard to snore by those who were outside his 
 chamber-door. But the Court Yard, by which you enter the anti-chamber, 
 was now so choaked with ashes and pumice, that, had he not arisen, there 
 would have been no means of escape. He arose, and went to Pompo- 
 nianus, and those who had sat up with him. They then consulted, whether 
 it would be better to remain in the house, or trust themselves in the open 
 air, for the building was shaken by repeated shocks, and appeared to nod 
 to and fro. They quit the house, and are exposed to the fall of the 
 pumice ; yet this was choosing the less of two evils. He determined on 
 adopting this plan, because, with him, one reason was allowed to super- 
 sede another less powerful ; they followed it, because one cause of fear 
 overpowered another. They bound their heads with towels as a defence 
 against the falling stones. In other parts of the world, it was now day, 
 but there all was darker than the darkest night. This inconvenience was 
 in part remedied by torches. They now determined on going down to 
 the beach, to ascertain whether or not the sea would allow of their going 
 on-board. There my Uncle, throwing himself on a sail, several times 
 called for cold water, and drank it; the flames and the sulphurous va- 
 pour accompanying them, oblige the others to retire, and compel him to 
 exert himself. He arose with the help of two servants, but immediately 
 fell senseless ; his breath, as I conjecture, was obstructed by the density of 
 the smoke; and his lungs, which were by nature weak, collapsed. When 
 the light of the sun was restored (the third day after his death), his body 
 was found perfect, and his garments not disordered. Ilis appearance was 
 LLICE&TEll -SQ. A 3 
 
6 
 
 rather that of one asleep than dead. During this time, I was with my 
 Mother at Misenum ; but your History requires only the narration of my 
 Uncle’s death : I shall therefore conclude with the assurance, that every 
 thing I have related is founded either upon personal knowledge, or the 
 immediate communication of such as can be depended upon. You can 
 select the parts you choose. It is one thing to write a letter, and another 
 a history; one thing to write to a friend, another to the world.” 
 
 The destruction of cities, kingdoms, and empires, the 
 exploits of heroes, and the conquest of nations, are so 
 much the result of human combination, that the mind 
 dwells with interest, perhaps, on the descriptions of these 
 events, but contemplates them with few emotions of over- 
 powering awe and surprise. In the terrors of an earth- 
 quake and eruption, as so powerfully described above, or 
 in the horrors of a deluge, the interposition of Divine 
 Power is so immediately apparent, as to arrest and occupy 
 the attention with the sublimity of the event. Memory 
 still dwelt, though more or less excited, on the dreadful 
 calamity which befel the province of Campania, by 
 the eruption of Vesuvius ; and the descriptions of the 
 ancients continually recalled a scene touched upon by 
 the historians. 
 
 For about fourteen centuries, however, the site of 
 Pompeii was buried in heaps of ashes, which, by decom- 
 position, in time became a rich soil, that peculiarly favored 
 the cultivation of vines. These, hanging in graceful fes- 
 toons from poplar to poplar, (planted in groves for that 
 purpose,) seemed with a species of melancholy drooping 
 to shade the spot where so many human beings had found 
 an untimely grave. The wall of the Greater Theatre still 
 rose above the surface of the ground, and in the sixteenth 
 century a canal was cut through the heart of the city, to 
 convey the water of the Sarnus to Torre dell’ Annunziata. 
 It seems extraordinary that these circumstances did not 
 direct the researches of the curious ; and particularly the 
 latter, as, during the excavation, the walls of houses and 
 some marbles must have been found. The rich treasures 
 which the spot contained, were, however, destined to still 
 longer obscurity, till, in the year ]()87, a countryman who 
 was working in the vineyards turned up a bronze figure : 
 
7 
 
 great expectations were excited by this discovery, but the 
 government immediately assumed the right of further re- 
 searches. For forty years, however, the excavations were 
 suspended, and even afterwards proceeded but slowly. A 
 society was established to explain the appropriate desti- 
 nation of the various interesting objects found in the triple 
 destruction : and the frescoes, statues, and bronzes, — the 
 jewels, utensils, and even burnt eatables, — excavated from 
 the ruins of Stabia, Herculaneum, and Pompeii, occupied 
 the attention of the learned Neapolitans, the result of 
 whose scientific labours are extant in several ponderous 
 folio volumes, full of judicious criticism and deep research. 
 
 The French, who seemed desirous in all their conquests 
 to remove the odium of military despotisms, by the culti- 
 vation of the peaceful arts, eagerly seized the opportunity 
 afforded them, by their conquest of Italy, of gratifying 
 the wishes of the learned, and the desires of the Neapoli- 
 tans, by prosecuting the discoveries with energy, and 
 which, during the reign of Murat, at one time, it is re- 
 ported, occupied 3,000 men. Under his auspices, Mazois 
 began his architectural researches in Pompeii, and, with 
 great labour and accuracy, commenced his illustrations of 
 the ruined edifices. The completion of this work is 
 anxiously looked for, as the parts already published evince 
 great fidelity of detail, and considerable ability of execu- 
 tion. Nor can we close this notice without mentioning 
 his happy illustration of the domestic usages of the ancient 
 Romans, in his pleasing work entitled, “The Palais de 
 Scaurus.” In our own country, the combined talents of 
 Sir William Gell and J. P. Gandy, Esq. have produced a 
 work, entitled “Pompeiana,” distinguished for its research 
 and brilliant execution. 
 
DESCRIPTION 
 
 OF THE 
 
 PRINCIPAL OBJECTS IN THE PANORAMA. 
 
 No. 1, This building consists of an oblong court, surrounded on three of its sides 
 by a colonnade, and having, in the centre of one side, a raised pulpit. — No. 2. 
 This latter object has procured it the name of the schools, by which it is dis- 
 tinguished by the Ciceroni. It, however, seems equally adapted for a place for 
 sales by Auction. Rotnanelli* imagines it a tribunal, nor would it be inapt for a 
 place of public disputation. 
 
 TEMPLE OF ISIS. 
 
 The great perfection to which the Greeks had carried their study of science and 
 literature is acknowledged by Horacef to have influenced materially the philo- 
 sophy and usages of the ancients ; nor can we wonder that men so alive to the im- 
 provement of the mind should have yielded to the mental superiority of a conquered 
 province. But it seems hardly credible that the Romans should have adopted tire 
 divinities and ceremonials of a people so inferior to them in every degree as the 
 Egyptians, and a divinity too, whose mysteries involved every impurity of human 
 nature; but such was the superstition of the Romans, that the mysteries of Isis 
 were daily acquiring influence over the minds of the people, till a decree of one of 
 the Roman emperors caused the extinction of its sanctuaries. The most perfect 
 remains of a temple of this divinity is here represented: the date of its restoration 
 is ascertained, in an inscription, to be posterior to some eruption, most probably 
 that of the year a.d. 63. 
 
 This temple offered to the excavators some of the most interesting antiquities found 
 in its ruins: among these are to be admired two pictures of the ceremonials; many 
 pictures detached from the walls representing architectural designs; an Anubis with 
 the head of a dog; various priests with palms, ears of corn, and one who held in 
 his hand a lamp; the hippopotamus, ibis, lotus; various birds and dolphins on a pi- 
 laster; a statue of Venus, whose arms and neck are gilt; and all the apparatus, in 
 bronze, of the sacrifices. 
 
 In the centre ot a court, surrounded by columns, is the sanctuary of the Temple, 
 (No. 4.) which is composed of a square celia, having in front a four-columned 
 portico (one of which columns is indicated, No. 5), flanked by two highly-deeorated 
 niches, raised on an elevated stylobate. Seven steps, once covered with white 
 marble, led up to the sanctuary, in which was found the fragment of an image, on 
 the base of which was the inscription : 
 
 LCAE ILIVS 
 PIIOEBVS POSVIT 
 L'D-D'D* 
 
 No. 6 represents one of two large altars which flanked the portico of the temple : 
 on one the victims were burnt, and the other received the sacred cinders, of which 
 a great quantity were found within it. Between the columns of the peristyle of the 
 peribolus, or court, were other altars. 
 
 No. 7 is a small chamber, highly decorated with beautiful stuccoes. In the 
 inside are steps leading to a bath, in which, it appears probable, the devotees per- 
 formed the ablutions preparatory to commencing their devotions. 
 
 * Viaggio aPompei e Pesto: parte prima. 
 
 j Grecia capta ferum victorem cepil el artes. 
 Intulit agresti Lado. 1.2. ep. 3. 
 
9 
 
 No. 8 shews a niche in the wall, in which was painted the figure of Harpocrites, 
 the god of silence, indicated by the finger on his lips. 
 
 No. 9 is the situation of three chambers attached to the temple, one of which 
 was a kitchen, with the stoves, which are the same as those now used in kitchens, 
 upon which were pans, with bones of animals and fish. 
 
 In this chamber a wretched priest, who began to feel the fatal influence of accu- 
 mulated ashes and the density of the atmosphere, unable to escape by the door, 
 had broken through with an axe two walls, but, ere lie could pass the third, the 
 smoke and vapour had extended him a lifeless corpse, with the axe firmly grasped 
 in his hand. The instrument, with the skeleton, are all that remain to tell the fate 
 of the miserable wretch. 
 
 No. 3. A priest was found, who, it is supposed, had been eating, as near him 
 were found some chicken bones, eggs, and earthen vases. Many other skeletons 
 of priests were found, who, either unwilling to quit the protection of the Deity, or 
 deferring till too late their escape, were prevented by the accumulation of the 
 ashes from accomplishing their flight. On the pictures the priests are represented 
 with the head shaved, with robes of white linen, and stockings of a tissue which 
 showed the feet. These were their ritual robes, to typify that their goddess had 
 introduced among the Egyptians the uses of linen. 
 
 The line of the aqueduct, mentioned at page 6, runs through the court of this 
 temple. 
 
 THE LARGER THEATRE. 
 
 The next object to be considered is theTheatre, a building of great importance to 
 the ancient inhabitants; and which, from the remains, we must judge to have been 
 decorated with every ornament suited to the destination of the edifice. Few, how- 
 ever, are the enrichments still remaining, from which it would appear that the 
 theatre had not been restored from its former dilapidated state, consequent upon the 
 former earthquake, at the time of the last eruption. The theatres of the Romans 
 were very peculiar, and differed essentially from ours, as the scenic representations 
 appear to have taken place generally in the day-time. They were constructed to 
 contain an immense number of spectators, and their form was that of a semicircle. 
 The less theatre of Pompeii is the only authority we have of one with a roof; 
 whenever the site allowed, the theatre was placed on the declivity of a hill, in order 
 to avoid the expence of constructing so immense a pile clear of the ground. 
 
 Nos. 13 shew' three ascents by which the spectators reached the coridors 
 through the doors Nos. 14. No. 13, with an arch, is an inclined plane leading di- 
 rectly from the street. From the coridors, No, 15, the spectators entered into the 
 body of the house, through the “ Vomitoria No. 16; and from these doors six 
 flights of steps, Nos. 17, afforded easy access to the various rows of seats.* No. 
 19 shews the position of three statues.f under which was the following inscription : — 
 
 M-HOLCONIOM-F-RVFO II VIRI-D 
 QVINQVIENS ITER-QVINQ*TRIB l MIL’AP* 
 
 FLAMINI AVG-PATR-COLON-D-D- 
 
 This upper flight of seats appears to have been occupied promiscuously by the po- 
 pulace; at least, if any distinction were made, the means were temporary. One foot 
 five inches was the width allowed for each sitting. 
 
 Immediately below are rows of steps, which surround the pit, called Orchestra n 
 by the Ancients. On these steps were placed, moveable seats for patricians and 
 inen of dignity. The orchestra, No. 23, which derives its name from the Greek 
 word og^eo pai, to dance, was occupied by the dancers and musicians. No. 24, 
 shews die podium, or pedestal, leading to the stage, called the pulpitum. No. 26, 
 represents the scene, whose breadth, according to Vitruvius, equalled twice the 
 
 * The space between each flight of steps was called “ Cuneus/ r or wedge, on ac- 
 count of its shape. 
 
 f Now removed to the Museum at Naples. 
 
PKRrnOLUS OF the TPHTPT.E or hercut.es. 
 
 PLAN OF THE LARGER THEATRE AND SOME OF THE ADJACENT 
 BUILDINGS AT POMPEII, FROM ADMEASUREMENTS, 
 
 BY M R ' T. L. DONALDSON. 
 
 i 
 
 LESS THEATRE, 
 
1 1 
 
 diameter of the orchestra. It was fixed, and had a marble decoration of three 
 ranges of columns, with pedestals and entablatures. In the scene were three doors. 
 No. 27 and Nos. 28 ; the centre one. No. 27, was called the Royal Door, and was 
 the one by which none hut gods and royal personages entered upon the stage. 
 Nos. 28, called the Doors of the Strangers (Hospitalia), were the usual entrances for 
 the inferior characters ; those on the side, No. 29, were, perhaps, for those supposed 
 to come from the country.* 
 
 There were three distinct speciesf of decorations, called the tragic, comic, and 
 pastoral, each different. The tragic scene was represented by the fixed decoration 
 of columns, and was supposed to represent the hall of a palace, with frontispieces, 
 statues, and other regal ornaments. The comic scenes were moveable, and as- 
 sumed the forms of private edifices, apartments, and corridors; but '.he pastoral 
 scenes, which were also moveable, were adorned with trees, caves, mountains, and 
 other rural objects. Behind the scene was a space, divided into three or more 
 rooms, for the accommodatioo of the actors, over which were, often, less chambers^ 
 this space was called the postscenium, No. 30. Above the corridors were four rows 
 of the seats, No. 31, appropriated to the w omen, who, according to some regu- 
 lations, sat apart by themselves. Up above these was a kind of terrace, No. 34, 
 for the additional accommodation of spectators, when the rest of the theatre was 
 filled: here is observable a mast, No. 33, which was one of many that were 
 used for stretching an awning over the whole extent of the theatre, so as to afford 
 to the spectators protection from the sun or slight showers. This was a luxury 
 first invented by the inhabitants of the Campania, and looked upon as an effemi- 
 nacy by most ancient writers, who style them, generally, “ rnolles Campani” and 
 the country “ lascivia Campania : this awning, in after-times, became so much a 
 matter of extravagance, as to be made sometimes of silk, ofpurpleand cerulean co- 
 lours, embroidered with rich silks, and gold tissue. No. 38, is a circular colonnade, 
 which forms a covering to a circular perforated pedestal, that appears like a well-hole. 
 Romanelli suggests, however, the possibility of its being a consecrated spot, where 
 probably a thunderbolt might have fallen, and which place was held as more 
 particularly sacred to Pluto and the infernal deities. 
 
 No. 43. Both the Theatres are contiguous to a court, surrounded by a colonnade, 
 and which was formerly supposed to be the soldiers* quarters. This appellation 
 was applied to it, in consequence of some arms found in one of the chambers, as 
 well as some stocks, to which were attached the leg bones of several skeletons. 
 Later researches have, however, given reason to suppose it to have been a market- 
 place, and it now receives the name of Forum Nundinarium. This court is 183 feet 
 long, by 148 feet wide, and is surrounded by a colonnade, having 22 columns on 
 each of the longer sides, and 17 on the less. Under this colonnade are a number 
 of small chambers, which had formerly other chambers over them, and which com- 
 municated with each other by means of a gallery, as restored at No. 42 : these 
 are now occupied by the guards, who watch the excavations of the chambers. One 
 is supposed to have been formerly used as a manufactory for soap; in another was 
 discovered a corn-mill ; and in a third an oil-mill. That chamber in which the 
 stocks were found, is supposed to have been the prison of the Forum, and the 
 guards most probably inhabited that in which were the arms. 
 
 No. 46. It appears from an inscription that this Theatre was covered, of which 
 we have no other instance among the remains of antiquity. 
 
 No. 53. Temple of Hercules. The character of the capital that remains in this 
 temple, approaches very near that of the Greek Doric ; the shaft has only 18 flutes; 
 the diameter was feet 3 „ 10.3. The Temple had seven columns in the front, 
 
 * Pollux supposes the middle door indicated the door of the house of the prin- 
 cipal personage in the piece, called the Protagoniste ; the door to the right repre- 
 sented the habitation of the second character, called the Deuteragoniste ; and that 
 to the left, the residence of the third character, distinguished by the term Trita- 
 goniste. 
 
 f Vitruvius, I. c. 
 
 <2 
 
12 
 
 and eleven in the flanks. In front of the Temple is a small enclosure (No. 52), 
 which seems to have served as a pen for the cattle about to be sacrificed, and more 
 particularly, as close to it are three altars, No. 37, on which were burnt the obla- 
 tions. From this circumstance it may be remarked, that on the occasions of the 
 great ceremonies, the offerings were consumed on the altars without the temple, so 
 as to afford the people an opportunity of witnessing the ceremony: whereas the less 
 oblations were burnt on a small altar within the temple, standing opposite or near 
 ihe statue of the divinity. 
 
 No. 55. Casteli’ a Mare, most delightfully situated, and is the summer residence 
 of many English. 
 
 No. 58. Sorrento is celebrated as the birth-place of- the poet Torquato Tasso j 
 his father, Bernado, in one of his letters,* gives the following animated description 
 of this enchanting spot : — 
 
 “ I have retired to Sorrento, by the favour of my Prince, who has liberated me 
 from the troubles and fatigues of active life. It is separated by the bay of a most 
 placid sea, from Naples, which, situated on a high hill, shews itself to beholdei9, 
 as if desirous that every one should see its beauty. Nature here, more bounteous 
 and liberal than to the rest of the world, seems to have busied herself, and laboured 
 to render it delightful. The deliciousness and peculiarity of the fruits ; the variety 
 and excellence of the views; the goodness and quantity of its fishes; the tender- 
 ness and excellence of its animal food ; render it, above all human desire, worthy of 
 commendation and of wonder. The air is so serene, so temperate, so healthy, so vital, 
 that those who continue here without changing the climate, seem almost to be im- 
 mortal. Add to this, that the wall which Nature, as ifjealous of so dear a treasure, 
 has formed around it, consists of the most lofty mountains. These are so green, so 
 flowery, so abounding with fruits, that we need not envy Venus her Paphos and her 
 Gridos. The Naiads, who are in general so unwilling to inhabit the summits of the 
 hills, enamoured of the beauty of these, pour on every side from their silver urns 
 the freshest and purest streams, which, descending with a sweet murmur, defend 
 the herbs and seeds from the fury of the Dog Star, which every where else scorches 
 the earth. The poets have fabled that here was the habitation of the Syrens ; to 
 signify that such are the delights of the country, that the man who enters, finds it 
 impossible to leave it.” 
 
 No. 60. Capri, called by the Ancients Caprese, celebrated as the island to which 
 the emperor Tiberius retired, after having entrusted the care of his empire to his 
 favorites; and where he gave himself up the most dissolute and infamous depravi- 
 ties that could disgrace human nature. 
 
 No. 72. The summit of Vesuvius consists of three heads. The same number is 
 the Crater now in action, occasionally sending forth eruptions, and is separated 
 from the other two (73), called Somma and Ottajanus. The circumference of Ve- 
 suvius at the base is about 30 miles. 
 
 ANTEFIXA 
 
 * Black’s life of Torquato Tasso. 
 
EXPLANATION of a VIEW of the RUINS of POMPEII, exhibiting at the PANORAMA, LEICESTER-SQU ARE. 
 
 1 Court for Sales, or Public Disputation. 
 
 2 Pulpit. 
 
 3 Chamber belonging to ditto. 
 
 4, Temple of Isis. 
 
 5 Column of the Portico. 
 
 6 Altar. 
 
 7 Decorated Chamber for Ablutions. 
 
 8 Niche with a Painting of Harpocrates. 
 
 9 Kitchen. 
 
 10 House of a Farmer. 
 
 1 1 Road to the Amphitheatre. 
 
 12 Situation of the Sculptor’s Shop. 
 
 13,13, 13. Staircases to the Corridors of the 
 Theatre. 
 
 14, 14, 14. Doors to the Corridor. 
 
 15 Corridor. 
 
 16. 16, 1 6, Vomitoria. 
 
 17. 17, 17, 17, Staircases. 
 
 IS, 18, Seats for Spectators. 
 
 19 Seats of the Duumvirs. 
 
 20 Seats of the Patricians. 
 
 21 Entrance to the Seats of the Spectators. 
 
 22 Proconsul's Seat. 
 
 23 Orchestra. 
 
 24, 24, 24, Podium. 
 
 25, 25, Stage. 
 
 26, 26, 25, The Scenes 
 
 27 Royal Door. 
 
 28 Doors of the Strangers. 
 
 29 Doors ofthe Country. 
 
 30 Postscenium. 
 
 3 1 Seats for the Women. 
 
 32 Entrance to the Seats for the Women. 
 
 33 Mast for the Awuiug, 
 
 3 1 Elevated Space, on which were generally 
 placed moveable Seats, 
 
 35 Entrance to ditto. 
 
 3 6 Enclosure attached to the Temple of 
 
 Hercules. 
 
 37 Altars. 
 
 38 Circular Colonnade. 
 
 39 Oreguano. 
 
 40 Leltere. 
 
 4 1 Monte S. Angelo. 
 
 42 Guard’s Quarters. 
 
 43 Forum Nfindiiiarium, or Market. 
 
 44 Steps leading up to the Temple of Hercules 
 
 45 Back Wall to the Shops of ihe Forum. 
 
 46 Postscenium of the covered Theatre. 
 
 47, 47, Entrances to ditto. 
 
 48, 48, Entrance to the Stage of ditto. 
 
 49 Spectator’s Seats. 
 
 50 Passages leading to the covered Theatre. 
 
 51 The Appeiihines. 
 
 52 Sacred Pen for Cattle. 
 
 53 Temple of Hercules. 
 
 54 Site of Stabia. 
 
 55 Castell’ a Mare. 
 
 56 Mount Lactarius. 
 
 1 57 Vico. 
 
 58 Sorrento. 
 
 59 Cape Minerva. 
 
 60 Island of Capri. 
 
 6t Rock of Hercules. 
 
 62 Circular Scat, commanding a beautiful and 
 
 ' extensive View, 
 
 63 Portico of tbe Peribolns, or Court of the 
 
 Temple of Hermes. 
 
 6-4 Street leading to Q. Caroline’s Excavation. 
 
 65 Pedestal for a Statue. 
 
 66 The Propylea, or Entrance to the Peribo. 
 
 lus of the Temple of Hercules. 
 
 67 Fountain. 
 
 68 Street leading to the greater Forum. 
 
 69 Street of tbe Temple of Isis. 
 
 70 Entrance to tbe Schools from tlie Court 
 
 of the Temple of Hercules. 
 
 71 Reservoir. 
 
 72 Crater of Vesuvius. 
 
 73 Summits of Somua and Ottajamis. 
 
DESCRIPTION of a View of THE RUINS of the CITY OF POMPEII and the Surrounding Country, now exhibiting at the PANORAMA, LEICESTER SQUARE. 
 
 1. Temple of Jupiter. 
 
 2. Pantheon, above which is the Street of 
 
 Dried Fruits. 
 
 3. Appennines. 
 
 4. Triumphal Arch. 
 
 5. Remains of Public Granaries. 
 
 6. Court of the Temple of the Augustals. 
 
 7. Temple of Quirineus. 
 
 8. Wall of the Great Theatre. 
 
 9. Portico of Eumachia, above which is the 
 Street of Silversmiths. 
 
 10. Pedestals for Statues in the Forum. 
 
 11. Arch called a Janus. 
 
 12. Street leading to Queen Caroline's Exca- 
 
 vation. 
 
 13. Town of Lettere. 
 
 14 and 15. Treasury, Record Office, &c. 
 
 16. Basilica. 
 
 17. Temple of Venus, or Bacchus. 
 
 18. Ancient Painting of Bacchus and Silenus. 
 
 19. Celia of the Temple. 
 
 20. Site of Stabia. 
 
 21. General Cfiampionei’s Excavation. 
 
 22. Casteir a Mare. 
 
 23. Mount Lactarius. 
 
 24. River Sarnus. 
 
 25. Vico. 
 
 26. Sorrento. 
 
 27. Rivegliano, or Rocks of Hercules. 
 
 28. Point of Minerva. 
 
 29. Island of Capri. 
 
 30. Peasants celebrating a Festival. 
 
 31. Island of Ischia. 
 
 32. Island of Procida, and Bay of Naples. 
 
 33. Road leading to the Street of Tombs. 
 
 34. Torre dell’ Annunziata. 
 
 35. Point Scassata. 
 
 36. Cape Misenum. 
 
 37. Mount Selvaggi. 
 
 38. Heights of Pausilippo. 
 
 39. Mount Barbaro. 
 
 40. Camaldoli, near Naples. 
 
 41. Camaldoli, near Torre del Greco. 
 
 42. Bosca Tre Case. 
 
 43. Extinct Craters at the Foot of Vesuvius. 
 
 44. Behind these Trees is the Street of Tombs. 
 
 45. Herculaneum Gate. 
 
 46. Ruins of an Inn. 
 
 47. Part of the City Walls, and the House of 
 
 Sallust. 
 
 48. Herculaneum Street. 
 
 49. Fountain. 
 
 50. Baker’s Shop. 
 
 51. Kitchen in Pansa’s House. 
 
 52. Tower on the Town Wall. 
 
 53. Houses of Pansa, and the Dramatic Poet, 
 
 to the right of which is the House of 
 Sallust. 
 
 54. Crater of Vesuvius. 
 
 55. Somma and Ottaianus. 
 
 56. Bosca Reale. 
 
 57. Ancient Shops. 
 
 58. Milk Shop. 
 
 59. Top of the Prisons. 
 
 60. Gate of the Fotum. 
 
 61. Street of the Mercuries, with the Houses 
 
 of the Quaestor, the Neirids, Meleager, 
 and Zephirus and Flora. 
 
 62. Triumphal Arch. 
 
 63. Women’s Baths. 
 
 64. Baths. 
 
 65. Temple of Fortune. 
 
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