FIELD MUSEUM OF NATURAL HISTORY. 
 
 PUBLICATION 152. 
 ANTHROPOLOGICAL SERIES. VOL. VII, No. 4. 
 
 ANTIQUITIES FROM BOSCOREALE 
 
 IN FIELD MUSEUM OF 
 
 NATURAL HISTORY. 
 
 BY 
 
 HERBERT F. DE Cou 
 
 With Preface and Catalogue of Iron Implements 
 
 BY 
 
 F. B. TARBELL 
 
 Professor of Classical Archaeology, University of Chicago 
 
 GEORGE A. DORSEY 
 Curator of Department 
 
 CHICAGO, U. S. A. 
 January, 1912. 
 
FIELD MUSEUM OF NATURAL HISTORY. 
 
 PUBLICATION 152. 
 ANTHROPOLOGICAL SERIES. VOL. VII, No. 4. 
 
 ANTIQUITIES FROM BOSCOREALE 
 
 IN FIELD MUSEUM OF 
 
 NATURAL HISTORY. 
 
 BY 
 
 HERBERT F. DE Cou 
 
 With Preface and Catalogue of Iron Implements 
 BY 
 
 F. B. TARBELL 
 
 Professor of Classical Archaeology, University of Chicago 
 
 GEORGE A. DORSEY 
 Curator of Department 
 
 CHICAGO, U. S. A. 
 January, 1912. 
 
 140123 CHICAGO (Field Mus. of natural hist.).' -'DC Cou, H.F: Antiquities from Bosco- 
 reale in Field Museum of nat. hist. Pref. and cat. of impl. by F. B. Tarbell 1912 
 S. 145-2 10, Taf. 1 18-166 (=Field Mus. of natural hist., publ. 152, anthropol 
 ser. 7:4)br. ... 
 
THE GETTY CENTER 
 LIBRARY 
 
PREFACE. 
 
 This catalogue, begun in 1908, was completed by the end of the 
 summer of 1909 and was then delivered to the Museum. The author 
 did not live to superintend its publication. He was assassinated by 
 Arabs at Cyrene, in Northern Africa, on March n, 1911, while engaged 
 in the work of the American excavation on that site. 
 
 I have gladly accepted the invitation of the Trustees of the Museum 
 to see the manuscript through the press. The task has been an easy 
 one, for Mr. De Cou was an extraordinarily careful workman. The 
 few slight changes which I have ventured to make in his text affect 
 nothing essential. 
 
 Inasmuch as Mr. De Cou did not have his attention called to the 
 iron implements from Boscoreale in the Museum, I have been requested 
 to catalogue these. For this brief addition I am therefore alone re- 
 sponsible. 
 
 F. B. TARBELL. 
 
 145 
 
FINDING LIST. 
 
 Accession 
 Numbers. 
 
 24356 
 
 24357 
 
 24403 . 
 
 24404 . 
 
 24405 
 
 24406 . 
 
 24407 . 
 
 24408 . 
 
 24409 . 
 
 24410 . 
 
 24581 . 
 
 24582 . 
 
 24646 . 
 
 24647 . 
 
 24648 . 
 
 24649 . 
 
 24650 . 
 
 24651 . 
 
 24652 . 
 
 24653 
 
 24654 
 
 24655 
 
 24656 . 
 
 24657 
 
 24658 . 
 
 Pages. 
 
 Accessio 
 
 Numbers 
 
 I8S 
 
 24659 
 
 185 
 
 24661 
 
 195 
 
 24668 
 
 I8 3 - 
 
 24669 
 
 IQI 
 
 24670 
 
 189 
 
 24671 
 
 182 
 
 24672 
 
 189 
 
 24673 
 
 192 
 
 26150 
 
 I8 7 
 
 26I5I 
 
 201 
 
 26152 
 
 200 
 
 26153 
 
 170 
 
 26154 
 
 169 
 
 26155 
 
 171 
 
 26156 
 
 I7O 
 
 26157 
 
 166 
 
 26158 
 
 158 
 
 26159 
 
 163 
 
 26160 
 
 162 
 
 26l6l 
 
 167 
 
 26l62 
 
 164 
 
 26163 
 
 1 60 
 
 26164 
 
 157 
 
 31699 
 
 171 
 
 31726 
 
 Pages. 
 
 197 
 203 
 205 
 
 174 
 I 7 6 
 
 177 
 211 
 211 
 211 
 211 
 211 
 211 
 211 
 211 
 211 
 211 
 212 
 212 
 212 
 212 
 212 
 209 
 208 
 
 147 
 
INTRODUCTION. 
 
 The objects which are described in the following pages l were exca- 
 vated at or near Boscoreale at the foot of Mount Vesuvius. 2 Most of 
 them were found in the villa from which came the celebrated Treasure, 
 part of which is now in the Louvre, some in the excavations of 1894-6, 
 others in 1898. One piece 3 is very probably from a villa in the Piazza 
 del Mercato of the village of Boscoreale, excavated in 1897-8; six 
 pieces, which entered the Museum in I9O3, 4 are from another villa^in 
 the same neighborhood. 
 
 The small but fertile plain of the Sarnus, which lay on the Gulf of 
 Cumae the modern Bay of Naples between the Sorrentine pen- 
 insula on the south and Vesuvius on the north, and extended back in 
 a north-easterly direction to the foot-hills of the Apennines, was ancient- 
 ly, as now, highly cultivated and thickly peopled. Besides the towns 
 of Nuceria in the south-eastern part of the plain, Stabiae, now Cas- 
 tellammare, in the south-west, and Pompeii in the north-west at the 
 mouth of the river, there were here, as in the entire region about the 
 bay, numerous country-houses and estates belonging to wealthy 
 Romans. Many of these villas, as they were called, were situated on 
 the slopes of the mountains, particularly the Mons Lactarius above 
 Stabiae and Vesuvius opposite. 
 
 For over eighteen hundred years habitation in the neighborhood 
 of Vesuvius has been largely dependent on the caprices of that volcano, 
 the outbursts of which have destroyed or devastated time after time 
 the towns at its base. In earlier days, however, this was not the case. 
 The geographer Strabo, who flourished in the reign of Augustus, de- 
 scribes it 6 as covered with beautiful fields, except at the top, which, 
 though level for the most part, looked as if it had at some time been 
 burned by subterraneous fires. The architect Vitruvius, who lived 
 
 1 I am indebted to Professor F. B. Tarbell, who read portions of the manuscript, for many helpful 
 suggestions; to Professor F. W. Kelsey and the Macmillan Company for kindly permitting the repro- 
 duction of the plan of the Villa Rustica at Boscoreale and furnishing the electrotype; to Assistant 
 Curators Simms, Owen and Nichols of Field Museum of Natural History and Mr. Edward E. Ayer for 
 information courteously given, and to my brother, Louis De Cou, for drawings. 
 
 2 The collection was bought by Mr. Edward E. Ayer, and presented to Field Museum of Natural 
 History by Mr. Ayer, Mr. H. H. Porter, Mr. D. H. Burnham and Mr. Charles Singer. 
 
 ' No. 24658. 
 < Xos. 24668-24673. 
 
 {This villa is not included in the list on p. 154. F. B. T.I 
 V. 4, p. 247. 
 
 149 
 
150 INTRODUCTION. 
 
 about the same date, mentions 1 a vague tradition of ancient eruption, 
 but there is no authentic record of any such event. 2 
 
 This long period of repose came to a sudden end the 24th of August 
 of the year 79 A. D. Early in the morning of that day the apparently 
 extinct volcano, after several premonitory shocks of earthquake, sent 
 up an immense cloud, like an umbrella-pine in form, which overshadowed 
 the surrounding country and drove the terrified inhabitants to flight. 3 
 Only those who left the vicinity immediately were saved, for in the 
 afternoon and the following night and during part of the succeeding day 
 there fell from the cloud a dense shower of pumice-stones (lapilli) and 
 fine volcanic ashes which covered the entire plain of the Sarnus, includ- 
 ing Pompeii and Stabiae, to a depth of from 10 to 40 feet. At the same 
 time Herculaneum, a small but wealthy seaside resort on the west side 
 of the mountain, was buried beneath torrents of ashes and mud, which 
 subsequently hardened into a solid mass from 70 to 100 feet in thickness. 
 
 The ruin which this visitation brought upon these cities was com- 
 plete and irremediable. Though Pompeii and Stabiae were not so 
 deeply buried as to preclude quite extensive excavation on the part of 
 contemporaries for objects of value, they could not again be inhabited, 
 while the sites more immediately adjacent to the mountain lay so far 
 beneath the newly formed surface of the ground that they were left 
 undisturbed throughout antiquity. They accordingly have preserved 
 for us even more completely than Pompeii the appurtenances of their 
 civilization and the exact conditions in which the catastrophe found 
 them. 
 
 The exploration of these buried cities and the recovery of the culture 
 which they represented have been pursued intermittently since the year 
 1711, and now, after the lapse of nearly two centuries, may be said to 
 be about half completed. A large part of the enormous collections in 
 the museum at Naples, including nearly all of the wall-paintings and 
 bronzes, came from these sites, and though for a long time the excava- 
 tions have been conducted on a rather small scale, new finds of impor- 
 tance are frequently made. 
 
 The most interesting discoveries of recent years have been made 
 near the above mentioned village of Boscoreale, about one and a half 
 miles north of Pompeii. Here a number of sumptuous farm-dwellings 
 (villa rusticatf* were brought to light. 
 
 II. vi 2. 
 
 1 Cf . the unrecorded eruption of the Alban Mountain, probably subsequent to the first part of the 
 Iron Age (circa 1000 B. C.), M. S. De Rossi, Bull, dell' Inst. 1883, pp. 4 ff.. Bull, di Paletnologia Ital. 
 I (1875), PP. 186 ff., ix (1883), pp. 79 ff. 
 
 1 For an account of this first recorded eruption we are indebted to two letters of the younger Pliny 
 (VI., xvi, xx), who viewed it from the promontory of Misenum, about fifteen miles distant. 
 
 4 On the type cf. Rostowzew, Jahrbuch d. kais. deutschen arch&oloe.. Inst. xix (1904), p. 124, n. 50. 
 
INTRODUCTION. 151 
 
 The first, which was also the richest in finds, was discovered in 
 1876. At that time only a beginning of excavation was made. The 
 work was resumed and completed in 1894-1896 and 1898 by the proprie- 
 tor, Vincenzo De Frisco. This villa was a rectangular establishment, 
 about 80 x 130 feet in size, 1 consisting of a lower story which contained 
 living rooms and bath and quarters for making and storing wine and 
 olive oil, and a smaller upper story, which was probably devoted mainly 
 to sleeping-rooms. The arrangement of the lower story is exhibited in 
 the Plan, plate CXIX. The entrance on the south, or more accurately 
 the south-west, side led to an open court (A) which was bordered on 
 the north and west by a colonnade, above which were the rooms of the 
 second story. The rooms on the west consist of a kitchen (B), on one 
 side of which is a stable (H) , on another the entrance to the bath com- 
 prising an apodyterium (D) with latrina (G), tepidarium (E), caldarium 
 (F), adjacent to which was the prafurnium (C), where the water was 
 heated; furthermore a bakery (O), and a dining-room (N), with vesti- 
 bule (M), together with some smaller rooms for sleeping (K, L) and 
 storing implements (J). On the north side was the large room of the 
 wine-presses (P), 2 and a group of small rooms probably for the use of 
 the servants (V, W, X). This group, as well as the press-room, opened 
 on the corridor (Q). At the east end were rooms for crushing (Z) and 
 pressing (Y) olives, a large room of uncertain use (S), and a threshing- 
 floor (T), adjoining which was an open cistern (U). The large court 
 on the south side, filled with earthenware casks (dolia), was used for 
 the fermentation and storage of wine (R) . 3 
 
 The details of the upper story are less clear, but it probably covered 
 the west and north sides of the quadrangle. The dining-room and 
 bath downstairs and most of the upper story appear to have been re- 
 served for the use of the owner; the room over the entrance may have 
 been occupied by the steward, while the remainder of the house was 
 given over to the servants and animals and to the business of the estate. 
 
 In this villa were found the bronze table and the bath-tubs now in 
 Field Museum, as well as a large number of vases of bronze, silver, 
 terra-cotta and glass. The most important discovery, however, was 
 made in one of the pits beneath the floor of the room of the wine-presses 
 (plate CXIX, P 3) . Here the skeleton of a man was found, with his face 
 against the bottom of the pit. In his hands he clutched a pair of gold 
 bracelets and a gold neck-chain, while about him lay the contents of 
 
 1 According to Pasqui, Monumenli Antichi. . ..</' Lincei VII, col. 400, the length ism. 39.70 (=-130 
 ft. 2.9 in), the width m. 25.50 ( = 83 ft. 7.9 in.). 
 
 1 The treasure above mentioned was found in the rectangular pit (3) on the south side of this 
 room. Cf. infra, p. 152. 
 
 3 For a fuller description of this villa, see Pasqui, M. A . L. VII and Mau-Kelsey, Pompeii (2d. ed.) , 
 ch. xlv, pp. 361 ff. 
 
152 INTRODUCTION. 
 
 his purse, upwards of 1000 gold coins, together with 117 pieces of silver- 
 ware which he had carried wrapped up in a cloth or sack. This is the 
 famous Treasure of Boscoreale, the greater part of which was purchased 
 by Baron Edmond de Rothschild l and presented to the Museum of the 
 Louvre in Paris. 
 
 Another villa of similar plan was discovered in 1895 an< ^ excavated 
 in 1897. Several interesting wall-paintings were found in it. From a 
 third villa, found within the village of Boscoreale, came the fresco rep- 
 resenting a sacrifice. 2 A fourth villa, discovered in 1900, was decorated 
 with wall-paintings of great interest and importance, now in the Metro- 
 politan Museum in New York. Besides these villas in or near Bosco- 
 reale, mention may be made of a villa at the neighboring Boscotrecase, 
 excavated in 1899, and of another at Scafati, near Pompeii, which 
 yielded a number of fine bronze vases, most of which are now in Berlin.^ 1 
 
 The art represented by the objects found in these villas, particularly 
 the metal vases and utensils and the wall-paintings, is mainly that of 
 Pompeii and Herculaneum in the latest stage of their development, the 
 quarter century immediately preceding the eruption. Like all the 
 ancient art on Italic soil, it is a product of foreign influences combined 
 with native elements, which were themselves in great part of foreign 
 derivation. In Campania the imported ideas came mainly from the 
 Greeks, whose colony of Cumae became politically and artistically 
 paramount as early as the eighth century B.C. 4 Political predominance 
 passed, after a time, to others, Etruscans, Samnites and Romans, in 
 their turn, but the civilization and art of the district, though influenced 
 and at times modified by the nation in power, remained for the most 
 part Hellenic or Hellenistic throughout antiquity. This Hellenism 
 was not, however, left to an unsupported colonial development, but 
 through direct and indirect communications with the mother-country 
 was constantly freshened and renewed. In consequence of this contin- 
 uous contact the growth and changing tendencies of the art of Greece 
 were reflected in the productions of the colony and its neighbors. This 
 is especially true of the major artistic movements, the influence of which 
 flooded Campania in successive waves. The last of these movements 
 had been that wider Hellenism that came about through the conquests 
 of Alexander, which brought the Greek civilization into contact with 
 the older cultures of Egypt and the East. It was characterized by 
 
 1 The price paid was 500,000 francs, nearly equivalent to $100,000. 
 
 No. 24658. 
 
 1 For a summary of the villas found in and near Boscoreale and in the neighborhood of Pompeii 
 cf. the tabular list, p. 154, in which those mentioned above are Nos. I, II, III, IV, VI and VIII, re- 
 spectively. 
 
 Cf. Von Duhn, La necropoli di Suessula, Rom. Mitleil. II (1887), pp. 235 ff; Pellegrini, Tombe 
 greche arcaiche e tomba greco-sannilica a tholos della necropoli di Cuma. Mon. A nt. Line. 1903, pp. 205 ff. ; 
 Karo, Tombe arcaiche di Cuma, Bull, di Paletnologia Italiana. XXX (1904), pp. I ff. 
 
INTRODUCTION. 153 
 
 the introduction of new motives of decoration, based on the incrusta- 
 tions and tapestries employed in those lands, by a more literal inter- 
 pretation of nature, after the manner of Egyptian art, and by the ten- 
 dency to elaboration of detail, often with small regard to its relation 
 to the whole, together with a certain sentimental individualism, which 
 had developed in the artefacts and the character of the later Greeks. 
 
 This art, to which the name Hellenistic has been given, had been 
 for over two centuries dominant in those parts of Italy where Greek 
 influence was felt, particularly in Campania and the south, but also 
 among the somewhat less civilized Romans, as their austere self-suf- 
 ficiency gradually broke down before the many currents of foreign in- 
 fluence which had turned toward the new world-capital. By the time 
 the Empire was established the number of Greek artists and artificers 
 working in Rome had become so large that that city rivaled the great 
 eastern capitals, Alexandria and Antioch, as a center of Hellenistic art. 
 As the seat of government and fashion it naturally came to set the 
 standards for the rest of Italy, the culture of which even in the former 
 Hellenic districts became relatively somewhat provincial. 
 
 Under Roman auspices this art underwent a certain development.. 
 While it derived inspiration from the stirring events which brought 
 about a concentration of power such as had perhaps never before been 
 seen, and encouragement from the lavish patronage of the great and 
 wealthy, it was influenced by the taste of the dominant people as well 
 as by the character of their previous art, to emphasize and exaggerate 
 various pre-existing tendencies which ultimately led it far from the 
 paths of the earlier Hellenism. As a result, the art of the first century 
 of the Empire shows in an increasing degree a preference for subjects 
 taken from real and living personages and contemporary history, for 
 an accurate but rather dry method of expression and, at the same time, 
 for bold and striking effects secured by means of the accumulation of 
 detail and impressionistic treatment. This development, which cen- 
 tered in the capital, was followed, as circumstances permitted, by the 
 other Italic cities, and is richly exemplified in the art of Pompeii and 
 Herculaneum. 
 
8 
 
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 s 
 
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 a* 1M 
 
 1 
 
 w 
 
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 S" 
 
 _J ts 
 
 8* J 
 
 8 -88 
 
 a 
 
 S 
 
 22 
 cf 
 
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 b 
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 3 
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 42 
 
 OO O 
 
 i J 
 
 P 
 
 154 '- 
 
FRESCOES. 
 
 The mural decorations which are described under the following 
 numbers, though found in or near Boscoreale, are, as has been indicated 
 (p. 149), derived from different villas. Fourteen pieces are said to be 
 from the Villa of the Treasure (No. I), one 1 is very probably from a 
 villa in the Piazza Mercato of the village of Boscoreale (No. Ill), and 
 three 2 are from another villa in the vicinity. 
 
 The frescoes had suffered greatly before entering the Museum, but 
 owing to much patient and skilful mending appear now as in very 
 fair condition. 
 
 Greco-Roman decorative wall-painting as exemplified in the Cam- 
 panian cities has been divided 3 into four classes or styles. The walls 
 of the First Style, which is the earliest in date, imitate veneer of marble 
 of various colors ; those of the Second and Fourth Styles are decorated 
 chiefly with architectural motives, which in the former preserve veri- 
 similitude, but in the latter tend to fanciful and impossible construc- 
 tions. In the Third Style architectural motives, though freely used, 
 form a decorative element which is kept subordinate to the general 
 scheme of the design and does not seem to form an end in itself. Both 
 the Third and the Fourth Styles are derived from the Second, though 
 probably developed in different centers. The walls of the Fourth 
 Style form the latest group in point of time. The frescoes of the Field 
 Museum collection which make use of architectural motives are of 
 the Fourth Style, though one 4 shows marked influence of the Third 
 Style. 
 
 With regard to the rooms and walls from which the decorations 
 were taken very little detailed information is accessible. From the 
 official report of the excavation of 1899 it is possible that some of the 
 architectural pieces (No. 24657 or 24651, 24656, 24659) are from the 
 triclinium or dining-room (N). 5 This was a room with tripartite 
 horizontal division of the decoration. There was a black dado, above 
 which the main part of the surface had a yellow background. The 
 ground of the uppermost part was white. A general idea of the arrange- 
 
 1 No. 24658. 
 
 * Nos. 24671-24673. 
 
 Mau, Geschichte d. dec. Wandmulerei in Pompeii, Berlin, 1882. Mau-Kelsey, Pompeii (2d ed.), 
 pp. 457 ff. 
 
 4 No. 24671. 
 
 4 Notisie degli Scavi, 1899, p. 15 (Sogliano). But not to be ascribed to this room if the black stripes 
 at the sides are part of the background. 
 
 155 
 
156 FIELD MUSEUM OF NATURAL HISTORY ANTH., VOL. VII. 
 
 ment of such a decoration may be obtained from a wall of the Casa 
 qg delta seconda Font ana di Musaico in Pompeii, illustrated in plate CXXX. 1 
 In this it will be seen that the architectural prospects at either side 
 of the middle panel of the principal surface correspond to such pieces 
 as No. 24651, the leaf -framed compartments at the sides of the upper 
 part to Nos. 24652, 24655, while the still higher compartments with a 
 goat or deer in the center are analogous to No. 24653. The small, 
 oblong, red-framed compartments at the sides of the right and left 
 panels of the principal surface bear some resemblance to No. 24650, 
 which is shown by the yellow background outside of the frame to be 
 from the central portion of the wall assuming that it is from the 
 triclinium. The same division is said in the above mentioned Report 
 to have contained 'flying monsters,' which may probably be identi- 
 fied with the androsphinxes, Nos. 24646-24649, also with yellow ground. 
 A suggestion for the position of No. 24654 is contained in a Pompeian 
 decorated wall'^ 1 of the Fourth Style, in which a very similar picture 
 is placed at the bottom of the upper division, just beneath a com- 
 partment similar to Nos. 24652, 24655. No. 24661 is perhaps from 
 the upper division, or possibly from the ceiling. The large pieces 
 Nos. 24671, 24673 are probably from the central division of the walls 
 from which they were taken. 
 
 Owing to the fact that the pieces are encased in permanent frames 
 it has not been possible to make a thorough examination of the plaster 
 underneath the surface or to ascertain just how closely the ancient 
 prescription of three coats of plaster and two or three of stucco 4 was 
 followed. So far as the interior of the pieces could be observed in places 
 where the surface is cracked or detached, the plaster is coarse and 
 gritty except near the surface, where a finer coating of the same color 
 was added to receive the paint. This is the only 'stucco' to be seen. 
 The thickness of the pieces appears to be about three inches, 5 except 
 No. 24673, the only one accurately measured, 6 which is five inches deep 
 from front to back. 
 
 The technique employed in the application of the paint is very 
 probably true or 'real' fresco. 7 
 
 1 After Zahn, Die schoensten Ornamente, etc. Vol. ii, plate 95. 
 
 2 Zahn, Die schoensten Ornamente, etc. Vol. iii, plate 96. 
 ' Cf. Villa of Diomedes, Zahn, op. cit. Vol. i, plate 67. 
 
 4 Pliny, Nat. Hist, xxxvi, 176. Vitruvius, vii, 3, 6. 
 
 1 Cf. Mau-Kelsey, Pompeii (ad ed.), p. 456. 
 
 Cf. p. 181. 
 
 7 Cf. Donner in Helbig, Wandgem&lde der v. Vesuv verschiittelen Stddte Campaniens, p. i. 
 
JAN., 1912. ANTIQUITIES FROM BOSCOREALE. 157 
 
 FRESCO. 24657. [PLATE CXX.] 
 
 Panel with architectural prospect. The design consists of a strip 
 of wall, which has a dado beneath, and an opening above, through 
 which the spectator sees farther architectural details, and, beyond 
 them, quite out of doors, the corner of a building. The wall is repre- 
 sented as continued above the opening, this part being ornamented 
 with a painted aquatic scene. At either side of the design there is a 
 black stripe, which -appears to form part of the background. 
 
 The dado is red, with a border at top and sides of green edged with 
 white. At the top there is a cornice, which is painted yellow, with 
 narrow horizontal stripes of red. 
 
 The surface of the wall above the dado is represented by two vertical 
 yellow bands, ornamented with horizontal and vertical red lines, 
 which are intended to suggest panelling. Inside the yellow bands a 
 green band on the left, together with an arched lintel, forms the frame 
 of the opening. The lintel joins on the right, or rather passes behind, 
 a vertical dark red band bordering on the yellow surface, but perhaps 
 not quite on the same plane with it. Above the lintel there is a dark 
 green cornice which is represented as projecting into the foreground. 
 This is the only part of the wall which is figured as nearer the spectator 
 than the yellow bands above mentioned. 
 
 Within the opening is a- short passage-way or vestibule. The 
 ceiling is painted in alternate yellow and red lines, the former probably 
 representing narrow wooden strips. Just beyond the vestibule, on the 
 left, a dark red band separates it from the succeeding interior architec- 
 ture. This consists of the corner of a light two-storied structure, through 
 which the open air appears as a white background. The greater part 
 of the front is a short passage-way, similar to the preceding. The ceil- 
 ing is in dark green with light green strips. Above the lintel there is a 
 cornice of light and dark green. From the inner lintel is suspended a 
 wreath attached at the top to a sort of vase or basket. Of the second 
 story front only a small portion shows above the cornice. The left 
 side of the structure has, on the right side of the lower story, a fluted 
 column probably of the Corinthian order, colored light and dark green, 
 as the light was supposed to fall upon it. It supports an entablature 
 consisting of an architrave of not quite correct Corinthian style, a frieze 
 which is divided into eight compartments with a garland in each, and 
 a cornice which forms an angle with that of the front, with which it 
 agrees in color. The open space between entablature and column is 
 contracted by means of a thick wall painted in successive stripes of 
 
158 FIELD MUSEUM or NATURAL HISTORY ANTH., VOL. VII. 
 
 blue (next to column), red, yellowish brown and yellow, while in the 
 opening the section of wall which shows is blue. The lower part of 
 this wall, as well as the opening, is shut off by a screen in yellowish and 
 greenish brown. In it there is a tall narrow door indicated by means 
 of white lines. It is represented as closed. Above there are horizontal 
 red lines. Of the second story there appears on this side only a trian- 
 gular bit of wall, colored green. 
 
 From the structure just described there is a view of part of the front 
 of a building, probably a temple, carried out in various shades of green. 
 At the corner of the building there is a Corinthian column without base, 
 supporting an entablature architrave, frieze with figures indistinctly 
 suggested, and cornice. Above appears the end of the pediment, which 
 is destitute of figures. At the right of the column and beneath the 
 architrave a portion of the front wall of the pronaos is visible, and beyond 
 it, in a darker shade of green, a bit of the wall of the cella. 1 
 
 The aquatic scene which is painted on the principal wall surface 
 above the opening has a green background representing water, in the 
 center of which are seen tall white plants, while at right and left there 
 is a fish. The picture has a border of dark red trimmed with white 
 and a narrow dark brown stripe just inside the white. The frame of 
 the panel is completed by a yellow band across the top corresponding 
 in length to the cornice above the dado. The ends of this band are 
 treated as in No. 24651 (q. v.). 
 
 From the analogy of similar pieces it is very probable that this 
 panel was placed on the left of the principal design. 2 
 
 Height, m. 2.106 ( = 6 ft. 10.91 in.). Width, m. 0.785 ( = 2 ft. 6.9 in.). 
 
 The panel is substantially complete. 
 
 The plaster has many cracks. The paint is faded, and is chipped off in numerous 
 places, mostly small, though the general effect is quite well preserved. 
 
 The paint seems to have been applied to a thin coat of stucco or fine plaster. 
 The gable was originally about an inch higher, and the first sketch may be seen 
 under the white where the latter is worn. The vertical red stripe at the left just 
 past the vestibule looks like an afterthought. There are many instances of one 
 color over another, due to contiguity. The shades of the colors are varied to in- 
 dicate light and shadow, as, for example, in the column, the cornice and the screen. 
 
 FRESCO. 24651. [PLATE CXXL] 
 
 Panel with architectural design. A narrow strip of wall is painted, 
 as in the preceding number (24657), with dado and top-piece, while the 
 portion between them is conceived as affording a view out into the open 
 
 For a somewhat similar view of a gabled structure with wing projecting forward, cf. the House 
 of Argus and lo in Herculaneum, Zahn, Die schoensten Ornamente, etc. Vol. ii, plate 83. 
 * Cf. the following three numbers. 
 
JAN., 1912. ANTIQUITIES FROM BOSCOREALE. 159 
 
 through a light and airy, but somewhat complicated, structure. At 
 either side there is a similar black stripe serving as background. 
 
 The dado is like that of No. 24657, but there is also a yellow stripe 
 at the bottom with nearly black horizontal lines. 
 
 The top-piece, which is decorated with sea -monsters in yellowish 
 white on green ground, is surrounded by a dark red border, which is 
 edged on the inner side with a narrow white stripe and, at least at top 
 and bottom, with a wider reddish brown stripe. The upper border is 
 continued at the ends by short pieces of yellow with the usual red lines, 
 extending across the black at the sides. The darker shade of the under 
 side is indicated by slightly whitening the background. 1 This border 
 with the end-pieces forms the top of the panel, and corresponds in plane 
 to the top of the dado. 
 
 In the space between dado and top-piece the front plane of the wall 
 is represented by a vertical yellow band on the right, bearing a narrow 
 red stripe and line, but the edge or frame, so to speak, about the opening 
 is green, both the sides and the slightly arched top. Just above the top 
 a gray cornice, both ends of which are visible, projects forward. Its 
 under side is painted a darker hue to show that it is in shadow. 
 
 The space within the opening is occupied by architectural motives 
 in two stories, which do not, however, exactly correspond either struct- 
 urally or in plane. In the first story there is, on the left, flush with the 
 front, a sort of gallery, the exterior of which is yellow, the interior most- 
 ly green. It has a rectangular pilaster on the right, an Ionic architrave, 
 a red frieze the lower half of which is occupied by a yellow leaf pattern, 
 suggesting dentils, and a widely overhanging cornice. On the right, at 
 both front and back, there are acroteria consisting each of a double 
 vegetable scroll, the yellow color of which probably represents gilded 
 bronze. On the right there is a wider building, which is set somewhat 
 farther back. The sides are dark green. The ceiling has grayish 
 strips, with reddish brown interstices, from front to back. A small 
 fragment of a wreath, which was attached to it, still remains. Above 
 the ceiling there is, in front, a gray architrave of Ionic type. This 
 architrave, the top of which is about on a level with the ceiling of the 
 yellow edifice, is surmounted by a rectangular panel which has a dark 
 red border with edging of white on the inside. The interior has on a 
 green ground a rosette in the center with a boucranion at either side, 
 all in yellow. This top-piece is clearly back of the roof of the first 
 building. 
 
 In the second story the entire front is occupied 'by a sort of vestibule. 
 Its left wall is yellow, the corresponding wall on the right does not 
 
 1 Traces of a similar proceeding may be seen in No. 24657. 
 
160 FIELD MUSEUM OF NATURAL HISTORY ANTH., VOL. VII. 
 
 appear. The ceiling has yellow strips with red interstices. The inner 
 architrave is of a brownish color, with two yellow lines to indicate the 
 subdivisions. Back of this entrance-way appears the corner of a balcony 
 in bluish gray and drab. A heavy pilaster supports the right end of an 
 Ionic architrave coming from the left. This architrave is of triple 
 width; the central portion is covered with ceiling-strips. Above is seen 
 part of a dark violet frieze with greenish leaf -pattern, suggesting dentils, 
 in the lower part. The same order is carried across the front, but it 
 seems less heavy because only a little of the under side can be seen. The 
 frieze is like that just described. Both side and front are open, the 
 external space thus revealed appearing as a white ground. 
 
 According to the usual arrangement in this style of decoration, this 
 panel will have been placed at the left of the principal picture on the 
 wall, and a corresponding panel, in this case No. 24656, on the right. 
 There is a very similar panel in the House of the Vettii, 1 belonging to 
 the second period of the so-called Fourth Style, after 63 A. D. 2 The 
 inconsistencies in the design, particularly the lack of correspondence 
 between the two stories, are characteristic of this style, in which archi- 
 tectural motives are freely combined without regard to structural 
 probability. 
 
 Height, m. 2.105 (=6 ft. 10.87 m -)- Width, m. 0.62 ( = 2 ft. 0.4 in.). 
 
 The fresco is considerably damaged. Diagonally across the center there is a 
 wide gap in the plaster, which has been filled in with a modern substitute. The 
 missing portion includes the upper part of the building on the right in the first story 
 except a piece of the architrave and a fragment of the ceiling. There are also nu- 
 merous small abrasions. The paint is more faded than in No. 24656. 
 
 There are many traces of overlapping of colors. In the architectural portion 
 black was applied first, then green or drab, then red, then yellow, indicating that the 
 decorator, after making the frame, worked fiom the innermost part of the structure 
 forward. In the dado the order was red, black, green, yellow. 
 
 FRESCO. 24656. [PLATE CXXL] 
 
 Panel with architectural design very similar to the preceding, 
 No. 24651, except that the arrangement of the buildings is reversed. 
 
 It is incomplete, the missing portions being the second story above 
 the spiral acroteria and part of the yellow cross-band at the bottom of 
 the dado. There are numerous small abrasions, and the colors are 
 
 i Mau, Roem. Mitteil. XI (1896), p. 57 (fig-). P- 49- 
 
 * Ibid. p. 6. 
 
 1 Cf. Mau-Kelsey, Pompeii (ad ed.). PP- 463, 467. 
 
 Panel with plain opening in the lower story and two elaborate stories above, Casa di Apollo, 
 Pompeii (Zahn, Die schoensten Ornamente, etc. Vol. ii, plate 43). In the Casa delta Caccia, Pompeii 
 (ibid. ii. 33) the side-entrances have a door which is left open. It leads on to the top of the wainscoting to 
 which steps lead up from below, thus suggesting a stage. Both are of the Fourth Style. On the 
 possible relation of the decoration of this style to the scenae irons, cf. Puchstein, Jahrb. XI (1896). 
 Am. pp. 28 ff., XXII (1907), Anz. pp. 408 ff. 
 
JAN., 1912. ANTIQUITIES FROM BOSCOREALE. 161 
 
 somewhat faded, but various details appear more clearly than in the 
 panel just described (24651). 
 
 The following particulars may be mentioned. The yellow band at 
 the top of the dado has two horizontal red lines in the center and two 
 very close together near the top, a somewhat sketchy representation of 
 a wooden architrave of Ionic type. The broad vertical yellow stripe, 
 representing the exterior wall-surface, appears here on the left side, 
 accompanying the structures which occupy the front of the architectural 
 picture. The lower part of the frieze of the yellow building in the lower 
 story is ornamented with a leaf pattern suggesting dentils, when seen 
 from a little distance. In the oblong panel above the lower left hand 
 building the rosette seems to be a double flower with many petals^ 
 The wreath is attached at the top to a sort of holder which probably 
 represents a jar with round bottom and two handles, a device which 
 may be seen still more clearly in No. 24659. 
 
 This panel was evidently placed on the right of the principal picture. 
 From the close resemblance which it bears in design, as well as in color- 
 ing to No. 24651, it is very probable that they are from the same wall, 
 and that the principal picture stood between them. 
 
 Height, m. 1.453 (=4 ft. 9.2 in.)- Width, m. 0.66 ( = 2 ft. 1.98 in.). 
 
 In the upper part the black and white were applied before the greens, the 
 yellow after them. The red of the border of the rosette-panel was put on after the 
 green of the interior, but before the green of the vertical stripe at the left. The 
 yellow of the narrow building at the light overlies both. Evidently the decorator 
 worked here also from the interior outward toward the spectator. The outer vertical 
 green stripe on the right shows traces of a white line, which came down the center 
 as far as the dado, but was subsequently painted over. 
 
 FRESCO. 24659. [PLATE CXXL] 
 
 Panel with architectural design similar to the preceding, No. 24656. 
 Incomplete; the preserved portion extends but a short distance above 
 the spiral acroteria, and to about the middle of the dado. The edges 
 on both sides, including the black and yellow vertical enclosing stripes, 
 are missing. There are numerous small abrasions, as well as a larger 
 patch in the lower right corner where the outer surface of the plaster 
 is destroyed. The plaster, as it appears here, is coarse and gritty 
 nearly to the front, where it seems to have been covered by a thin 
 coating of a sort of stucco. The colors are somewhat faded. At present 
 the tints differ considerably from those of the two similar pieces, par- 
 ticularly the greens, which are lighter, and the red of the dado, which 
 is darker. 
 
 i Four yellow rosettes in panel above door, Roux, Herculanum et Pompii. Vol. i, plate 30 (Fourth 
 Style). 
 
162 FIELD MUSEUM OF NATURAL HISTORY ANTH., VOL. VII. 
 
 The following are the more noteworthy details. The right interior 
 wall of the yellow building of the first story has a vertical white line 
 near the left edge. At the top of the wide green stripe, which forms 
 the back wall, there is a molding. The right wall of the building on the 
 left is violet colored, except for a dark line near the left edge. The 
 ceiling-strips are bluish gray, the inter-spaces are violet. The interior 
 architrave is greenish drab; the lines which indicate the divisions of 
 the surface are bluish gray. The exterior architrave is greenish gray 
 with division lines of chrome green. The boucrania are slightly and 
 poorly sketched. A well preserved garland is suspended from a sort 
 of jar 1 with U-shaped bent handles, extending upward from the lip, and 
 a horizontal handle, projecting from the side near the lip, under the 
 large upper handle. The vase is of a reddish brown color, but the lip 
 and the two rings just beneath it are painted white to indicate light 
 falling on raised surfaces. The round part of the garland does not form 
 a complete ring, but an end is suspended from each of the upright 
 handles of the vase. The perpendicular part seems to be hung from 
 near the bottom of the vase, but the precise manner of attachment 
 is not clear. 
 
 The panel was evidently placed on the right of the principal picture. 
 Owing to the differences in the coloring, noted above, it is improbable 
 that it served as a companion piece to No. 24651. Whether it belonged 
 to another room, or to another wall of the same room, would be difficult 
 to determine. 
 
 Height, m. 1.388 ( = 4 ft. 6.64 in.). Width, m. 0.475 ( = i ft. 6.7 in.). 
 
 In the dado the green paint was applied after the red; in the rosette-panel the 
 red was put on after the green, that is, the interior was in both cases painted before 
 the border. 
 
 A point in which all four of the frescoes with dado agree is the presence of a narrow 
 black stripe along the upper edge of the upper green border of that part, though 
 here it is partly painted over with green. The stripe may be taken as indicating 
 that the top of the border lying just beneath the projecting yellow (wooden) cornice 
 is in shadow. 
 
 FRESCO. 24653. [PLATE CXXIL] 
 
 Decorative compartment with border and top-piece, detached from 
 a white ground. 
 
 The principal design figures a sort of deer in the attitude of ascending 
 a very steep declivity, while the head is turned so that the creature's 
 gaze is directed backwards. Just what animal is represented, is not 
 clear; perhaps the chamois was in the mind of the decorator, although 
 the horns should in that case turn backward. The color basis is a 
 
 1 Similar in shape to the vase of the preceding No. 24656, but with different handles. 
 
JAN., 1912. ANTIQUITIES FROM BOSCOREALE. 163 
 
 dark blue upon which red was laid for the neck and the greater part of 
 the body. Over the red there are a few whitish stripes. The back- 
 ground is white, and there are no indications of landscape. 
 
 The frame or border, which encloses the design, is a similar blue 
 to that of the enclosed figure, but darker. It was decorated with from 
 three to five narrow white stripes of the same direction as the respective 
 sides. On the under side the border is enlarged by a wide stripe of 
 reddish white, on which there is a pattern consisting of red horizontal 
 lines and inverted T's of the same color. 
 
 At either side of the frame there are narrow uneven strips of white, 
 probably from the background. At a point a little above the center 
 of the stripes, a horizontal red band from the right and another from the 
 left joined, but did not cross, the frame. 
 
 Above the enclosure there is a narrow rectangular top-piece sur- 
 rounded by a dark red border with a line of white about the inner edge. 
 The interior has, on a green ground, designs in white, a bird in the center 
 and at either side, and, in either interval, a plant with large round leaves. 
 The bird in the middle is probably a swan, that at the left may be the 
 same, while the bird at the right is uncertain. Besides the foregoing 
 there are slight and indistinct traces of other plants in white. 
 
 For the place which this piece may have occupied on the wall, 
 cf. p. 156. There is also a similar animal figure in the dado of the wall 
 of a house near the Basilica in Pompeii^ 
 
 Height, m. 0.608 (= i ft. 11.93 in.). Width, m. 0.415 ( = i ft. 4.33 in.). 
 
 The panel is in fairly good condition, but it has been broken across, a little above 
 the center, and the colors, especially of the border, are considerably worn and 
 faded. 
 
 FRESCO. 24652. [PLATE CXXIL] 
 
 Decorative compartment with border and top-piece. 
 
 The compartment is represented as a room enclosed by a four-sided 
 frame or border. The side-pieces are made up of narrow vertical 
 stripes of dark red, reddish white and green. It is probable that 
 leaves were painted over these stripes, in a lighter shade of green. On 
 the right side there seems to be a rosette. The top has horizontal 
 stripes similar to those of the side-pieces. The bottom is a whitish 
 band, which has three horizontal red lines, besides a very dark red stripe 
 on the upper edge. From the latter depend inverted T's of the same 
 dark shade. On the inside of the frame there is, along either edge, at 
 right and left, a dark green vertical line, from which the ends of dark 
 green leaves project toward the interior. 
 
 1 Zahn, Die schoensten Ornamente, etc., Vol. i, plate 29. 
 
164 FIELD MUSEUM OF NATURAL HISTORY ANTH., VOL. VII. 
 
 That the space enclosed by the frame is intended to represent the 
 interior of a room, is evident from the ceiling. This is a pattern of 
 bluish tinge applied in three shades. At the top there is a broad dark 
 stripe, the upper part of which is particularly dark. Beneath there is 
 a lighter band, nearly straight across the top, but with pointed ends and 
 convex lower edge. This band is crossed by rays which start from the 
 upper band and have the same color as the lower part of that band. 
 From the shape of the ceiling it is apparent that the room is thought 
 of as circular. The light toned part of the ceiling belongs to the side of 
 the room which is farthest from the spectator. 
 
 In the white interior there is a large two-handled vase or basket 
 suspended from the ceiling by means of a bright red cord, which parts 
 near the lower end into two strands, each of which is attached to a 
 handle. After forming a sort of bow here, and a loop at the side of the 
 vase, the cord appears beneath it in the form of two wide straight 
 hanging ends. The vase has a wide rim sloping somewhat downward, 
 and concave sides with raised ornamental bands near the bottom. 
 Besides the two bail-handles there was a U-shaped handle projecting 
 upward from either side near the bottom. The base consists of two 
 discs connected by a slender shaft. Handles and base are of metallic 
 form. From the color, which is a dark green with lighter shades and 
 bits of white to indicate the play of light on the surface, the material 
 of the vase would seem to have been conceived of as bronze. 
 
 The top-piece has its own border of very dark red with a pale yellow 
 line about the inner edge. The interior has a brick-red ground with 
 decorations in the same pale yellow as the line. On a base consisting 
 of a horizontal stripe are represented three trees and two horses. 
 The trees are gnarly and leafless according to the earlier conventional 
 manner. The right horse runs to left, but has his head turned to the 
 right. The left hor^e gallops to left. A curved object projecting 
 upward from the middle of his back is probably his tail misplaced. 
 
 Height, m. o. 637 ( = 2 ft. 1.07 in.) Width, m. 0.427 ( = i ft. 4.81 in.) 
 Abraded in lower right corner. Considerably worn and faded. 
 
 FRESCO. 24655. [PLATE CXXIIL] 
 
 Decorative compartment very similar to the preceding, No. 24652. 
 
 The following are the more noteworthy details. On the sides of 
 the frame there are traces of sprays of leaves in a rusty light green, 
 painted over the red 1 and dark green stripes, which form the basis of 
 
 1 There is no very dark red on these side-frames, but there is an irregular stripe of that color on 
 the upper cross-piece. 
 
JAN., 1912. ANTIQUITIES FROM BOSCOREALE. 165 
 
 those pieces. The inner border of projecting dark green leaf-ends is 
 well preserved. On the left side there appears to have been a narrow 
 white stripe drawn over the left edge of this fringe. The lower cross- 
 piece has six light red stripes and partial stripes, besides the dark red 
 stripe at the top. The dark red pendants have no caps at the lower 
 ends. At the bottom there is a dark green stripe. 1 In the interior, 
 just above the lower cross-piece, there is a whitish stripe. 2 The sus- 
 pended vase is like that of the other fresco (No. 24652), but the details 
 are more clearly preserved. The lower part has the calyx form, the 
 base is somewhat heavier than in the other picture. The upper handles 
 have recurved ends. The lower handles have the U-form, but, owing 
 to the sketchy treatment, the sides do not appear to be connected. In 
 the interior of the top-piece the base-line is visible, but of the figures 
 only indistinct blotches remain. One of these (on the left side) may 
 have been a horse, the others are small and shapeless. 
 
 From the close resemblance existing between this piece and No. 
 24652 it is very probable that they are corresponding pieces from the 
 same wall. 
 
 Height, m. 0.655 ( = 2 ft- r -7 8 in-)- Width, m. 0.415 ( = i ft. 4.33 in.). 
 
 Lacks upper half of topmost frame-stripe, as well as the upper right corner, 
 which has been filled in with modern plaster. There are numerous small cracks 
 and abrasions, and the paint has faded; but, except for the top-piece, it is rather 
 better preserved than its companion-piece. 
 
 FRESCO. 24661. [PLATE CXXIV.] 
 
 Small decorative compartment with bird. 
 
 The light red quadrangular border is probably partly covered by 
 the wooden frame in which it is at present encased. There is an irregu- 
 lar dark stripe near the inner edge, and, on the left side, a white streak. 
 
 In the white interior a flying bird with short curved beak, long, 
 badly drawn wings with recurved ends, long tail and outspread toes, 3 
 swoops downward to right. The chief fault with the drawing is that 
 the upper parts of both wings are attached to a single lower part, which 
 is besides, excessively elongated. The bird is of a brownish color with 
 applied details in light gray. 
 
 Height, m. 0.223 ( = 8 -77 in-)- Width, m. 0.23 (=9.05 in.). 
 The border, which was probably originally a thin brick-red, is abraded in divers 
 places. 
 
 1 Owing to poor preservation it is uncertain whether there was such a stripe in the companion- 
 piece. 
 
 J Something similar may be seen in No. 24652. 
 
 1 On one foot there is a spur. 
 
 4 A somewhat similar bird, but with longer neck, in a fresco of the Fourth Style from Pompeii, 
 Zahn, Die schocnsten Ornamente, etc. Vol. Hi, plate 87. 
 
166 FIELD MUSEUM OF NATURAL HISTORY ANTH., VOL. VII. 
 
 FRESCO. 24650. [PLATE CXXV.] 
 
 Decorative compartment with representation of vases and palm- 
 branches. 
 
 On a yellow background, which shows also at the top and on the 
 left edge, there is painted a border in dark red, with a narrow white 
 edge both inside and outside. In the lower part of the interior there 
 is a dark red horizontal band with trimming of white on the under side. 
 The left end is oblique, the other appears always to have been irregular. 
 This band represents a surface like a board without means of support. 
 
 On and back of this basis there are various objects. At the left is 
 a sort of jar with base, wide lip and short neck, painted in dark brown 
 streaked with black and whitish to represent a metal surface played 
 upon by the light. There are two whitish bands in the center, and one 
 in the lower part, which are to be regarded as raised above the adjacent 
 parts. At the beginning of the shoulder there is, on the left, a ring- 
 handle with ornamental attachment, and opposite to it, on the right, a 
 high U-shaped handle curving inward. It also has an ornamental at- 
 tachment, but of a different character. On the left side of the lower 
 part of the body there is a projecting head like that of a horse, to which 
 nothing on the opposite side corresponds^ Against the front of this 
 vase a l n g palm branch is tilted, the leafy part downwards. On the 
 stem there is a festoon of ribbon. Branch and festoons are in white and 
 brown. Back of the branch a ribbon attached to the left handle is 
 faintly drawn in white. 
 
 About in the middle of the basis stands a second vase with flaring 
 sides and high base. It has a bail-handle at the top, and U-shaped 
 handles with projecting ornament on the lower part of the body, one 
 on each side. The vase is of dark color, like that which precedes, 
 with two stripes of white around the center and two around the lower 
 part.&- Against the back of the vase is tilted a palm branch, the leafy 
 part upwards. A brown and white ribbon is attached to the stem. 
 
 The third vase, which stands at some distance to the right, is shaped 
 somewhat like the vase first described, but the shoulder is steeper, and 
 the neck and mouth narrower. The base is not well preserved. At 
 the top there is a bail -handle. At the beginning of the shoulder there 
 are very probable traces of U-shaped handles. The brown left handle, 
 which has a long recurved ornament on the outer side, runs to a pointed 
 
 1 Cf. jar with serpent on one side and human mask on the other side, but lower down, represented 
 in a fresco from Pompeii. Zahn, Die schoensten Ornamente, etc. Vol. iii, plate 50. 
 
 1 For other examples of palm branch leaning against vase cf. Roux, op. cit. Vol. i, plate 20 (pitcher) , 
 iv. 115 (bowl), v. 37 (jar), all representations in fresco. 
 
 1 With this vase cf. the suspended crater, Roux, op. cit. Vol. iii, plate 139 (painted panel). 
 
JAN., 1912. ANTIQUITIES FROM BOSCOREALE. 167 
 
 end above the top of the vase. The right handle is white and slightly 
 lower. The vase is drawn only in outline, chiefly white but with some 
 brown lines, especially on the left side, for shading. About the center 
 there is, as in the others, a double white line. Against the front of the 
 vase a palm-branch leans, the leafy part downwards. There seems to 
 have been a festoon about the stem. 
 
 Between the second and third vases there is a poorly preserved 
 four sided white object, which does not reach to the basis, and is proba- 
 bly to be regarded as a mat lying farther back in the room (or whatever 
 the space assumed may be). On this mat stands the outline of a tableP ** c 
 with three straight legs drawn in white with brown shading. Above 
 the table there is a white ring with triangular tail-piece, on which there 
 is brown shading. The object is probably a wreath conceived as 
 hanging on a wall. 
 
 At the right end, in the .rear of the third vase, there are traces which 
 probably belong to a second table with oblong top. It probably had two 
 legs at each end, but of them only slight vestiges remain. On the 
 extreme right end of the table an object resembling a cup with handle 
 is sketched. In the foreground, at the extreme right, there are lines 
 in brown and white, perhaps intended to suggest a wine-skin. 
 
 The palm branches are perhaps for lustration. An unsupported 
 rectangular slab is used as basis in a central panel from the House of 
 Argus and lo in Herculaneum^ A possible place for the compartment /T. 2T, \t'> t C 
 is suggested by the employment of similarly framed pieces in the 
 middle of the right and left edges of the side panels of a wall in the Casa Z. IT, *, 9^" 
 della Seconda Fontana di Musaico, Pompeii (Fourth Style). 
 
 Height, m. 0.215 ( = 8.46 in.). Width, m. 0.43 ( = i ft. 4.92 in.). 
 
 The fresco is in fairly good condition, though it is worn in places and there are 
 numerous small abrasions, particularly in the red paint. 
 
 After the yellow, the red was applied, then the brownish black of the vases. The 
 palms were painted after the vases. 
 
 FRESCO. 24654. [PLATE CXXVI.] 
 
 Small decorative compartment containing an interior with a window. 
 
 The border, which enclosed the compartment on all sides, is partly 
 hidden by the wooden frame in which the piece is at present preserved. 
 The dark brownish red inner edge may, however, be seen all the way 
 
 1 Similar table, but with brace between the legs, on greave from Pompeii, Nicolini, Casa dei Cladi- 
 atori, plate v. No. 8. 
 
 1 Cf. Zahn, Die schoensten Ornamente, etc. Vol. i, plate 89 (Pompeii), Fourth Style house with rec- 
 tangular panels in right and left corners of the dado, where a branch represented with one of the vases 
 seems to serve such a purpose. 
 
 Zahn, op. cit. Vol. ii, plate 66. 
 
 Zahn, op. cit. Vol. ii, plate 95. 
 
1 68 FIELD MUSEUM OF NATURAL HISTORY ANTH., VOL. VII. 
 
 around, while at the top and on the left side there are numerous traces 
 of a wider band of the same color, painted over yellow ochre. The 
 difference in the preservation of the inner and outer parts of the border 
 may possibly be due to the fact that the former was painted over the 
 dark brown of the interior. 
 
 Within the border the most clearly defined portion of the composition 
 is the window in the upper right corner. There is a wide and deep white 
 sill. The profile of the thick side-wall on the left is reddish brown in 
 color, with an inner edge of dark brownish red. The entire field of 
 vision disclosed by the window is blue. On the window-sill there is 
 a heap of objects of somewhat uncertain character lying on an elliptical 
 drab mat. The following is an enumeration of them: 
 
 2 large brown platters with sloping sides. 
 
 3 yellow objects, probably gourds. 
 
 1 tall slender brown jug lying on its side. 
 
 2 brown staves 'lying crossed on top of the preceding objects. They seem to 
 
 be made of grapevine, which is untwisted at one end. 
 2 brown objects hanging from near opposite ends of one of the staves, perhaps 
 
 the bodies or skins of small animals (not hares), perhaps sausages. 
 I large pine cone. 
 
 1 grayish object resembling a fungus. 
 
 2 wreaths, consisting of hoop and straight end, in brownish white. They hang 
 
 over the edge of the sill. 
 
 Several plants with tall slender whitish leaves. Some of them rise above the 
 heap, others hang over the inner edge of the sill. 
 
 Beneath the window there is a rather broad ledge or floor which is 
 white in the foreground, brownish red at the left end and light brown 
 at the back, where it is not very clearly distinguished from the front 
 upright wall. On this floor there are several objects. At the left a 
 large whitish and greenish gray bird, perhaps a female pheasant, seems 
 to be sitting on a sort of nest. Next to her on the right there is a cor- 
 responding male bird painted in a variety of colors. The head (except 
 the comb), the back of the neck, the lower part of the wing and the 
 under tail feathers are yellow. The comb and breast are reddish brown; 
 most of the tail, as well as a line along the back, is in blue. The central 
 part of the wing is red with light brown spots. In the foreground there 
 are two staves like those in the window-sill, and the spiral end of a third. 
 At the left end of the white part of the floor there is a reddish brown 
 platter, somewhat larger than those described above, tilted against the 
 wall. At the right of the male bird there is an uncertain object in red- 
 dish brown, perhaps a vase. In the extreme right corner of the floor 
 there is a reddish brown pitcher with base, handle and long curved beak, 
 lying on its side. The left end-wall of the room is brown like the front 
 
JAN., 1912. ANTIQUITIES FROM BOSCOREALE. 169 
 
 wall and but faintly distinguished from it. At the bottom of the com- 
 partment there is a rather broad horizontal brownish drab stripe rep- 
 resenting the edge of the thick floor. 
 
 A very similar picture occurs at the bottom of the attica in a Pom- 
 peian fresco of the Fourth Styled The chief difference is that in the 
 window there are two bowls, and on the floor a 
 
 Height, m. 0.37 ( = r ft. 2.56 in.). Width, m. 0.373 (~ l ft. 2 -68 in.). 
 
 The colors are somewhat faded and in many places are abraded, usually so, 
 however, as not to interfere seriously with the design. 
 
 A coat of yellow ochre was first applied to the entire surface. The browns of 
 the interior were next laid on. Then came the white of floor and sill followed by the 
 drab mat preceding the reddish browns, and after them the other colors. The 
 border was put on, or at least finished, after the interior. In the reddish browns there 
 are frequent differences of tone, which are due partly to unequal thickness, and 
 partly to the effort to represent the play of light on some of the surfaces. 
 
 FRESCO. 24647. [PLATE CXXV.] 
 
 Decorative figure of winged male sphinx on yellow background. 
 The monster is represented as flying upward to right. He has the body 
 of a lion, with outspread carelessly drawn legs and long tail, the end of 
 which is curved back. The right wing, which is extended to its full 
 length, has the end recurved. Of the left wing only the upper part 
 appears. It is scantily drawn, and resembles a piece of drapery. 
 About the neck there is a wide collar perhaps meant for a conventional 
 mane. On the head there is a sort of cap with plumes which curve 
 forward and extend from neck to front. The retreating forehead is 
 deeply lined. He has high eyebrows, smooth upper lip and wedge- 
 shaped beard. The face expresses intelligence and energy. 
 
 The figure is for the most part of a greenish gray color, which takes 
 on a reddish tinge toward the ends of the wings. There are some lines 
 of black on the right wing, the lower part of the body and the legs. The 
 light is represented as falling on the figure from the right side of the 
 front, and the parts so touched, particularly the forehead, the shoulder, 
 the wing and the back just behind the wing, are flaked with whiteC^ 
 
 Height, m. 0.32 ( = 12.59 m -)- Width, m. 0.317 ( = 12.48 in.). 
 
 The piece is in good condition, but there are breaks in the upper left corner and 
 at the left end of the under side. There are small cracks in the right side. The 
 yellow of the background is somewhat streaked. 
 
 The left, right and upper edges are somewhat incrusted and discolored. 
 
 1 Zahn, Die schoenslen Ornamente, etc. Vol. iii, plate 96. 
 
 * Cf. Roux, Herculanum et Pompii, Vol. ii, plate 20, for a somewhat different window picture. 
 3 Similar bearded sphinxes, but in crouching position, are represented on two frescoes published by 
 Roux, op. cit. Vol. iii, plate 132; cf. ibid. ii. 34, and Nicolini, Descriz. Generate, plate i. 
 
170 FIELD MUSEUM OF NATURAL HISTORY ANTH., VOL. VII. 
 
 FRESCO. 24646. [PLATE CXXV.] 
 
 Decorative figure of winged male sphinx on. yellow background. 
 The design is very similar to that of the preceding fresco (No. 24647), 
 but is less well preserved. The following details may be mentioned. 
 As at present installed, the figure is somewhat more nearly horizontal 
 than the other, an arrangement which is borne out by the position of 
 the legs. There are some other slight differences, e.g. the right front 
 leg is less rigid, the left front leg is raised higher and is more fore- 
 shortened, the ends of the wings are less clear in outline, and the lines 
 of the face are less sharply defined. The light comes from the same 
 direction. 
 
 Height, m. 0.31 ( = 12.20 in.). Width, m. 0.311 ( = 12.24 m -)- 
 The plaster is cracked on the left side, at the top in the upper right corner, and 
 diagonally across the upper left corner through the tip of the right wing. There 
 are abrasions, particularly in the forehead, wings, hind legs and tail. The yellow 
 of the background is much streaked and discolored., 
 
 The upper, lower and left edges show incrustation and discoloration, proceeding 
 perhaps from a previous frame. On the lower side the upper edge of this discolora- 
 tion is marked by a fine black line. 
 
 FRESCO. 24649. [PLATE CXXIV.] 
 
 Decorative figure of winged beardless sphinx on yellow background. 
 The composite creature is depicted as flying upward to the left. It has 
 the body of a lion with outspread legs and curved tail, as in the case of 
 the bearded sphinxes, but the inner hind leg is less contracted. The 
 front legs are straight, the right leg being much foreshortened. The 
 left wing, which is fully extended, probably had recurved tip. The right 
 wing rises to the highest part of the design. It is not treated with es- 
 pecial regard to its structure, and resembles rather a piece of drapery. 
 Of the cap scarcely more than the plumed crest now remains, but it 
 seems to be continued in a mane-like collar about the neck. The face 
 forms nearly a right angle, with the nose as apex. The eye is probably 
 indicated, but the details are not clear. The mouth is wide open; there 
 is scarcely any chin. 
 
 Except for the lack of beard there is no indication of sex. 
 
 The color is chiefly greenish gray. There is a black stripe down the 
 middle of the back and on the tail, as well as on. the inside of the right 
 hind leg. The light fell from the left side of the front, and appears par- 
 ticularly on the head, the shoulder and the left front leg. 
 
 Height, m. 0.31 ( = 12.20 in.). Width, m. 0.305 ( = 12 in.). 
 
 The plaster is cracked, more especially on the lower and right sides, and in the 
 
JAN., 1912. ANTIQUITIES FROM BOSCOREALE. 171 
 
 upper left corner through the head of the figure. There are numerous abrasions. 
 The background is a dark yellow, whether originally or through discoloration is 
 uncertain. Possible traces of previous framing appear on the lower and right edges. 
 
 FRESCO. 24648. [PLATE CXXIV.j 
 
 Decorative figure of winged beardless sphinx on yellow background. 
 
 The design is very similar to that of the preceding fresco (No. 24649), 
 but is much less well preserved. Noteworthy details are the traces of 
 the crested cap and of the eye, the upper line of which is visible. 
 
 There is a black stripe along the back, and on the tail and the left 
 hind leg. The light-flecks have disappeared, excepting one on the back, 
 just behind the wings. 
 
 Height, m. 0.31 ( 12.2 in.). Width same. 
 
 The plaster is cracked about the under, upper and left sides. The design is 
 much abraded, especially the head, which lacks the lower part of the face, the 
 shoulder, the wings, the left front foot and the end of the tail. The yellow of the 
 background preserves, in part, the original medium light shade, as in No. 24647, 
 but the color has become still lighter in many places. There is probable trace of 
 previous framing on the under side. 
 
 FRESCO. 24658. [PLATE CXXIIL] 
 
 Sacrificial scene and serpent from a domestic shrine, which probably 
 belonged to the villa discovered in 1897 in the Piazza del Mercato of 
 the village of Boscoreale^ The upper part of the painted surface is 
 occupied by the scene of sacrifice, which is depicted as taking place out 
 of doors. A little to the right of the center of a heavy base-line there 
 is an altar of a dark red marble containing large and small yellowish 
 spots. The altar has a molded base and a wide cornice. On the upper 
 surface a red fire burns with a whitish smoke. Close to the altar at 
 either side there is a small slender green tree. 
 
 At the right of the altar a tall male figure clad in a toga which may 
 possibly be drawn up over his head, extends his right hand over the fire. 
 His left arm is bent at the elbow, the forearm being brought forward 
 with the open hand held near the body. The feet do not show owing to 
 a patch in the plaster. He has a sinewy neck and a sharply retreating 
 chin. Near the short dark brown hair there are traces of a green wreath. 
 
 1 Notiz. degli Scavi, 1898, p. 42 1 (Sogliano) : ' 'Al di spttp della nicchietta e dipinto, fra due alberetti, 
 1'altare ardente, sul quale fanno libazioni il genius familiaris a dritta, vestito di toga bianca e col capo 
 velato e a sinistra la iuno, vestita anche di bianco e col capo del pan velato. Dietro il genius stanno un 
 camillo, in parte dannegiato, con la benda nella destra e un altra figura irriconoscibile; e dietro la iuno 
 un altro camillo avente nella dritta le bende e nella sinistra un piatto con le offerte, e il tibicen in atto di 
 suonare la doppia tibia. Al di sotto, il serpente agatodemone." The doubt as to whether the heads 
 of the principal figures are covered and the omission of the plate carried by the camillus on the right are 
 slight discrepancies which count for little against the agreement of the other details and the fact that 
 no such fresco is mentioned in the reports of the excavations of the treasure villa. 
 
172 FIELD MUSEUM OF NATURAL HISTORY ANTH., VOL. VII. 
 
 The flesh parts are light brown; the garment is whitish. There are 
 outlines of relatively darker colors about some of the flesh parts and the 
 toga. Next on the right is a boy, turned slightly to left. He wears a 
 whitish tunic extending as far as the knees. The legs from the knees 
 downward, as well as the feet, are very faint and perhaps not ancient. 
 To the lower right forearm, which hangs obliquely downward, a ribbon 
 is attached. It falls in two streamers with forked ends nearly to the 
 ground. In his left hand, which, together with the left arm, is scarcely 
 visible owing to repairs, the boy holds a dark brown platter up to the 
 level of his chin. On the platter there is a grayish substance of uncer- 
 tain character. The boy has short dark brown hair, in which there are 
 traces of a green wreath. The drooping eyelids indicate that his gaze 
 is fixed on the platter. The flesh is light brown with a faint pink tinge. 
 At the extreme right there are slight remains of a larger figure, doubtless 
 male, walking to left. The parts which are most easily distinguish- 
 able are the right side of the back of the calf of a leg and a foot, all in red- 
 dish brown. He seems to have white drapery about the middle. 
 
 At the left of the altar stands a figure with wide hips and of stature 
 somewhat inferior to that of the man opposite. It is clad in a whitish 
 upper garment reaching, probably, from the top of the head to the middle 
 of the shin. From there to the feet there seems to be a yellowish under- 
 garment or tunic. The brown feet are turned to the right. It is not 
 certain whether they are shod. The right arm is completely covered 
 by the upper garment; the hand is indistinct. The left arm is bare from 
 above the elbow. On the wrist there is a bit of pink which probably 
 represents a metal bracelet. The hand is extended over the altar. The 
 head, which is partly turned to the left, is crowned with rather plentiful 
 dark brown hair. There are very faint traces of a green wreath. Eyes 
 and nose are now indistinct. The wide mouth is slightly open, showing 
 the teeth. The face is considerably lighter colored than that of the 
 man. Wide brown lines are used to indicate contours as well as the 
 folds of the upper garment. The figure doubtless represents a woman. 
 Close to her on the left is a boy wearing a tunic which reaches about to 
 the knees. The legs below the garment are sketchily drawn and poorly 
 preserved, and the feet are scarcely distinguishable. From the lower 
 right forearm hang ribbons. The left arm supports a large dark brown 
 platter on which there are some objects of uncertain character, chiefly 
 of brownish color. About the boy's dark brown hair there are traces 
 of a green wreath. His face, which is almost in profile, is similar in 
 color to that of the woman. Eye, nose and mouth are still visible. 
 At the left of this figure there follows, after a certain interspace, a youth 
 who is playing the double flutes. He is clad in a single whitish garment 
 
JAN., 1912. ANTIQUITIES FROM BOSCOREALE. 173 
 
 which reaches from the neck to the ankle. The pipes on which he is 
 playing are dark brown in color. The musician's rather long head is 
 covered with scanty brown hair, about which there are traces of a wide 
 green wreath. He has a slanting forehead, thick lips and a retreating 
 chin. Eye, nose and mouth are preserved. 
 
 The lower part of the piece contains only a large crested serpent 
 represented as moving to right. His back, which has a scalloped out- 
 line, is brownish red. The under side is yellow with dark brown stripes 
 as far as the neck, which with the greater part of the head is brownish 
 red. The crest is, with the exception of two large white spots, of a bright 
 red color. From the mouth which is slightly open, the bright red tongue 
 darts obliquely downward. Above and below the serpent there are 
 in each scallop traces of a large green plant, in shape somewhat like a 
 fleur-de-lis. 
 
 A similar, but apparently less complete representation of the same 
 subject was found in another villa near Boscoreale.& In a picture in the 
 House of the Vettii at Pompeii the Genius, holding a patera and the 
 incense-box, stands in the center with a Lar at either side. The altar 
 and the serpent are in the zone beneath^ Compare also the shrines 
 in the Pompeian houses, Regio V, Insula iv, No. 3, in which the sacri- 
 ficing figures, corresponding to the usual luno and Genius, have the 
 form of Minerva and Hercules, and Regio VI, Ins. xv, in which the IL,X 
 Genius, who holds a golden cornucopia in his left hand, and with the 
 other pours on an altar from a golden patera, has the features of Nero@ fiAt i 
 With the camilli cf . the youth with pitcher and metal basin on the Ara 
 Pads. 5 
 
 Height, m. 0.65 ( = 2 ft. 1.59 in.). Width, m. 1.118 (=3 ft. 8.01 in.). 
 
 Restoration of plaster in corners and on right side, especially between main 
 scene and serpent. There are cracks in every part, particularly around the edges. 
 The background is now mostly of a whitish color, streaked and blotched in many 
 places, especially in the upper part, to yellow and brown. The garments are of 
 substantially the same color as the background, but are distinguished from it by 
 their outlines. Nearly all the lower part and most of the right end after the camillus 
 form a large corner of somewhat darker color (except where restored), as though 
 smoked. 
 
 la 
 ficar 
 
 Mau, Roem. Mitteil. XI (1896), p. 29. 
 
 3 Notiz. degli Scavi, 1899, p. 340 (Sogliano). 
 
 < Mau. Roem. Mitteil. XIII (1898). p. S3- 
 
 5 Petersen, Ara Pads Augustae, plate III, viii. = Strong, Roman Sculpture, plate IX, 2. 
 
174 FIELD MUSEUM OF NATURAL HISTORY ANTH., VOL. VII. 
 
 FRESCO. 24671. [PLATE CXXVIL] 
 
 Mural decoration of painted plaster, surmounted by a stucco cornice. 
 From the villa in which Nos. 24669, 24670 were found. 
 
 The principal design of the painted surface consists of two rectangu- 
 lar compartments, upper and lower, the former on white and yellow 
 ground, the latter on red ground. They are connected by a tall cande- 
 labrum in the center. The background which surrounds them is yellow. 
 
 The lower compartment is bounded on either side by an Ionic col- 
 umn, the flu tings of which are drab, the high parts a lighter shade of 
 the same color. It is uncertain whether they had bases. The capitals 
 are each surmounted by a profiled block like the end of an architrave. 
 The space between the columns is contracted by grayish green vertical 
 bands, edged with white, one at either side. They are connected with 
 the columns at the top by horizontal bands of the same color, except 
 that the edging of the upper side is black, and below the center by simi- 
 lar bands with white edging, two on either side. Above the panels 
 thus formed and extending across the intervening space is a drab band, 
 which is bordered by darker lines beneath and a white line on the upper 
 side. Next follow two bands of violet and drab with a red stripe between 
 them. Opposite the uppermost band there is over either column a 
 rosette poorly preserved. 
 
 Just outside the columns there is on either side a vertical grayish 
 green band which is joined at the top by a similar horizontal band. 
 This border which, if continued, would enclose large rectangular panels, 
 has an edging of black on the outside and of white on the inside. Within 
 the panels there is a narrow dark red stripe with white edges, which 
 parallels the outer border. 1 Above the upper border there is at either 
 side a drab band which has a red stripe near each edge and, between the 
 stripes, an indistinct design in dark red. It is followed by a somewhat 
 narrower band of dark red. These bands join those which lie above the 
 lower compartment, and with them form the substratum of the basis 
 of the upper part of the design. 
 
 The immediate basis of the upper compartment consists of two 
 elevations of reddish drab color with a dark red stripe on top, together 
 with a grayish green stripe, which extends over them and across the 
 intervening space. The elevations are in the axes of the above men- 
 tioned Ionic columns. The bands which enclose the compartment at 
 sides and top are of greenish gray trimmed with white. The interior 
 is divided by a narrow dark red stripe with white upper edge into two 
 
 1 The discontinuation of the left stripe near the bottom and the change of alignment seen in the 
 other are evidently due to the repair and the resetting of plaster. 
 
JAN., 1912. ANTIQUITIES FROM BOSCOREALE. 175 
 
 parts, the lower part, with white ground, having the shape of the gable- 
 end of a building crowned by an anthemion in very light yellow; the 
 upper part, with yellow ground, occupying the remainder of the space. 
 The lower part is decorated with pieces of architecture consisting of a 
 large bluish gray rectangular frame, the top of which supports at the 
 corners the end of an Ionic entablature coming from either side. This 
 entablature forms at the outer ends an angle with a similar section 
 which projects into the foreground. The entablature, which is of drab 
 color excepting the frieze, which is purplish, has two brownish yellow 
 anthemia at each end. Beneath the nearer end of the second section 
 and beneath the angle where the sections meet there is an unfluted Ionic 
 column. The columns which are in the foreground rest on the low 
 elevations previously mentioned. The effect produced by the white 
 ground with its decorations is that of a vista. 
 
 Adjoining the upper compartment on either side a broad horizontal 
 band, which is made up of alternate stripes of dark red and light yellow, 
 
 together with one or more grayish stripes, extends to the edge of the 
 
 1 Z' 1 ,** ,$1 
 
 plaster. 
 
 In the axis of both compartments rises a candelabrum of conven- 
 tionalized vegetable form. The shaft is composed of about ten sections 
 interspersed with discs. At the top there is a rayed fan-like concave 
 disc placed vertically. The shaft is yellow with numerous bits of a 
 whitish tint, which serve to indicate where the light falls. The vertical 
 disc has concentric circles of yellow, yellowish white and a dark color. 
 
 The cornice, which is mostly reset, consists of an oblique surface 
 between two perpendicular bands. The uppermost band is plain, 
 though it is doubtful if any of the original surface is preserved; the other 
 two are profiled. 
 
 This fresco shows the influence of the Third Style in the absence of 
 an architectural scheme in the principal design, the Ionic columns of the 
 lower compartment and the painted bands being purely decorative, 
 while the bits of architecture are confined to the upper compartment cf.i\f- ^ ,'7 
 and have the character of secondary ornament. 1 
 
 Height, to top of cornice, m. 2.10 (=6 ft. 10.67 in.). Width, m. 1.39 (=4 ft. w 
 6.72 in.). Width of the three bands of the cornice, m. 0.05, 0.067, 0.03, from the 
 lowest upward. 
 
 Small pieces of plaster are missing between the upper and lower parts and from 
 the lower compartment, especially near the bottom. The upper compartment is 
 now, owing to faulty restoration, set a little farther back than the lower, except on 
 the right edge. The surface is much cracked, and there are many abrasions. 
 
 1 With the anthemia cf. Roux, op.cit.Vol. i, plates 17 and 76. For the candelabrum see ibid, plate 
 36, Zahn, Die schoensten Ornamente, etc. Vol. i, plate 39, Vol. ii, plate 39, and cf. Notisie degli Scavi, A/SA ' 
 1897. P- 393 (Villa in contrada Giuliana): "Nel riquadro centrale della zona media e un candelabra 
 d'oro, sonnontato da una palla, lumeggiato con bianco;" 1899, p. 393 (Villa at Scafati = No. viii. 
 List. p. 154) : ' 'decorazione a fondo giallo scompartito da pilastri bianchi, ornati di candelabri con 
 fogliami" (Sogliano). 
 
176 FIELD MUSEUM or NATURAL HISTORY ANTH., VOL. VII. 
 
 The bottom is much discolored. There seem to be some differences in the 
 grayish green tints, but they are probably all substantially the same. In the lower 
 part the yellow was applied before the grayish green bands and before the columns. 
 The red is prior to the bands of grayish green which cross it, and prior to the can- 
 delabrum. In the upper part the yellow and the white were put on before the 
 remainder of the paint. 
 
 About one-fourth of the surface of the lowest band of the cornice is lacking, and 
 about four-fifths of the remainder. 
 
 FRESCO. 24672. [PLATE CXXVIIL] 
 
 Panel with architectural decoration on black ground. From the 
 villa in which Nos. 24669, 24670 were found. 
 
 About the top and left side there is a border, which consists of a white 
 line on the inside followed by dark red and brown lines with traces of 
 white toward the extreme outer edge. No border is now visible on the 
 right side, which is incomplete, nor on the lower edge, which is largely 
 restored. 
 
 The design consists of two rectangular pavilions or porches connected 
 by an arch, the whole being surmounted by a garland, which is suspended 
 from the top of the panel and is attached at the ends to either side. The 
 pavilions, which are in the Ionic style, occupy the lower corners. They 
 have whitish and yellow columns, dull red frieze and elaborate yellow 
 and brownish cornice. The architrave is yellow on the outer face, 
 purplish inside and grayish on the under side. Dark yellow beams 
 divide the ceiling into panels, the high parts of which are colored bluish 
 gray, the deep parts brownish red. In the interior of the pavilions 
 there are unsupported animal figures on the left a winged lion of 
 grayish yellow color, bearing a lotus-flower on his head; on the right 
 an indistinct and clumsy winged figure, probably a bull, only a few bits 
 of which, painted a grayish white, are original, while the remainder, 
 which is of a reddish color, is restored. 
 
 The roofs of the pavilions are connected by a broad arched band, 
 the bluish color of which probably indicates metal. On the upper edge 
 there are wide scallops, each of which terminates in a conventionalized 
 yellow flower. From the center of the arch, which is covered by a sort 
 of shield, rises a short ornamented standard supporting a basket or 
 canister. On the front of the roof rises a vegetable scroll, which ends 
 within in a rosette. At the left, a long slender feline animal stands with 
 one fore leg on the scroll, while the other is uplifted. The head is 
 turned sharply back. On the right there is a corresponding animal, 
 perhaps a dog, with head turned partly to the right and pointed upward. 
 Animals and scrolls are of brownish yellow color. 
 
JAN., 1912. ANTIQUITIES FROM BOSCOREALE. 177 
 
 Beneath the arch there is a rectangular box, the front of which has 
 the form of a frame with crossed ends. The outside of the box is 
 colored brownish yellow in front and reddish and bluish at the left end; 
 the inside appears mainly as black with a dark red stripe above. Within 
 the frame are seen two masks. The mask on the left has plentiful bluish 
 gray hair. The round staring eyes and open mouth give to the pale 
 face an expression of terror and suffering. The other mask has yellowish 
 hair. Both masks are beardless. On top of the box stands a tall 
 slender yellowish vase with high vertical handles. Beneath the box 
 there is a sort of bracket ornamented at either side with a ball and disc. 
 It is probably conceived to be of metal. 
 
 At the .top of the fresco there is a garland consisting of two portions 
 of about equal length. The ends, which are violet-colored strings, are 
 fastened to the sides of the panel and the lower corners of an oblong 
 piece of some red substance, like cloth or leather, the lower edge of 
 which is drawn by the weight into concave shape. At the beginning 
 of the leafy part on each side there is a violet ribbon. On each garland, 
 near the middle, stands a long-legged bird, of grayish color, facing 
 toward the center of the panel. 
 
 With these pavilions compare the projecting portico from Bosco- 
 reale published by Mau, Roent. Mitteil. XVII (1902), p. 186, fig. i, and 
 a similarly placed portico with broken gable from the Casa del Labirinto, ^ 
 Pompeii P For the arch with spiral compare the examples from the 
 V- Casa di Sirico^ and the Casa di Giuseppe II. With the animals on the 
 roofs cf. Roux, op. cit. Vol. I, plate 20. A rectangular frame with two 
 masks, Nicolini, UArte in Pompei, plate 4. 
 
 Height, m. 1.23 (=4 ft. 0.42 in.). Width, m. 1.99 (=6 ft. 6.34 in.). 
 
 The fresco is in poor condition. The plaster is much cracked and probably to 
 a considerable extent reset in the upper part, and is in many places reset and replaced 
 in the lower part. In front of the right pavilion a large piece of plaster is scaled to 
 a depth of about one-fourth of an inch. The edges of the upper layer reveal a rather 
 fine grayish plaster to which the black paint seems to have been directly applied. 
 
 FRESCO. 24673. [PLATE CXXIX.] 
 
 Mural decoration of painted plaster. From the villa in which Nos. 
 24669, 24670 were found. 
 
 The designs, which consist chiefly of fanciful architectural schemes 
 on a red ground, are bounded at the top by a white line near the upper 
 edge of the plaster, but are probably incomplete on the right side, and 
 
 1 Zahn, Die schoensten Ornamente, etc. Vol. ii. plate 70. 
 1 Nicolini, op. cit. Vol. i, Casa di Sirica, plate 2. 
 ' Roux, op. cit. Vol. i, plates 108, 106. 
 
178 FIELD MUSEUM OF NATURAL HISTORY ANTH., VOL. VII. 
 
 may have been somewhat curtailed on the left side and on the bottom, 
 where they reach the edges without seeming to be finished. 
 
 Two groups of construction, one of which, on the right, occupies 
 about one-fifth of the available space, the other the remainder, are 
 represented as erected in front of a mural surface which is ornamented 
 with two horizontal bands. The lower of these bands, which is a little 
 above the middle of the fresco, is decorated with a repeated pattern, 
 which consists of two griffins facing each other at either side of a con- 
 ventional shrub and a similar but somewhat smaller shrub, which 
 serves as a connection between groups and is united with the larger 
 shrub by means of the tails of the adjacent griffins and a flowered vine 
 running beneath them. At the top of the band there is a narrow 
 border suggesting dentils. The color of this band was a yellow ochre. 
 The second band, which is at the level of the top of the architecture, 
 has at the bottom a wide stratum from which rise the figures of a re- 
 peated pattern consisting of a bunch of conventionalized plants spring- 
 ing from a dark red lyre-shaped base, which is crossed in the center 
 by several vertical yellowish line's or strings, and a winged head, perhaps 
 of a griffin, surmounted by a volute, the intervening space being occupied 
 by two scrolls. Both bands are alike in color. 1 
 
 The structure on the left is a sort of two-story arbor, the ground- 
 plan of the lower part being an oblong with rounded ends. Two tall, 
 whitish, widely separated Corinthian columns are connected by a broad, 
 horizontal, bright yellow band, which joins them at a point just below 
 the capitals, and is ornamented with narrow horizontal stripes of red 
 and brown. The space thus enclosed is ornamented with a three-sided 
 yellow ochre band consisting of alternate longer and shorter panels of 
 which the former contain each a six-legged stem, the latter a figure like 
 two tridents turned in opposite directions. From either corner of the 
 upper side of the band an anthemion projects obliquely forwards. 
 The two streamers which hang from the upper horizontal band are 
 probably not to be regarded as in the same plane with the three-sided 
 band. 
 
 To the columns are attached the rounded ends of the oblong enclo- 
 sure. They consist of a blue wall or curtain with a bright yellow band 
 at the top. On the right side, however, next to the column, a vertical 
 stripe, which was probably yellow originally but is now nearly faded out, 
 was painted over the blue. There is no trace of a corresponding stripe 
 on the left. The top band, which is ornamented with an angular mold- 
 ing above and a broad cyma reversa beneath, while between them there 
 are bosses in repousst, is probably conceived to be of metal. At the 
 
 1 Owing to poor preservation now chiefly a thin mud-color. 
 
JAN., 1912. ANTIQUITIES FROM BOSCOREALE. 179 
 
 back it seems to rest on top of the columns but is presumably to be 
 thought of as showing above them from behind. On these ends rest 
 winged figures of a drab color, doubtless griffins. 1 Between the ends 
 rises a band resembling the cornice of a gable, which forms the top of 
 the back part of the enclosure. Its upper border of circumscribed 
 palmettes is colored yellow ochre; the remainder, though much faded, 
 shows at the bottom traces of chrome green, above which is a yellow 
 line. 
 
 The upper part of this structure is a ring or hoop supported by four 
 long legs which rest on the cross-piece between the capitals. The two 
 front legs, which are larger than the others, seem to be constructed of 
 vertical rods with openwork between them, and are ornamented on the 
 outer edges with short spurs and a spray of tall leaves which rise from 
 the bottom. The other legs, which are round and about half as large, 
 have Ionic volutes at the top, and, at either side just below the gable- 
 band, a sort of projecting ear or leaf. At the bottom there are low bases 
 underneath all the legs, and, between the front and back legs at either 
 side, an ornamented chrome green plaque, probably conceived to be of 
 bronze. On top of the hoop, above the smaller legs, repose crouch- 
 ing winged figures, which probably represent sphinxes. The color 
 of the upper structure was probably originally for the most part yel- 
 low. The front legs show traces of greenish yellow. 
 
 Of the horizontal bands which ornament the wall-surface the lower 
 was painted before the legs of the upper structure, and makes no allow- 
 ance for them; the upper, which is at the right of the hoop, leaves a 
 space for it. From the points where this band and the hoop are nearest 
 together, dark red stripes with edges of white extend upward nearly to 
 the top of the fresco, where a similar slightly arched stripe connects 
 them. The idea suggested is that of a canopy above the upper structure. 
 
 The probability that the right side of the fresco is incomplete renders 
 the character of its decoration somewhat uncertain. In the lower part 
 of the field an entablature with greenish white architrave, dark, violet- 
 colored frieze and a wide cornice, which projects at the left end as far 
 as the column at the right of the blue apse, is supported at the left by 
 a slender, greenish white Ionic column, and at the right by a column 
 which is similar except that it is thicker and perhaps lacks flutings. 
 The right end of the entablature turns backward obliquely. On the 
 frieze, there are yellowish ornaments, one of which is a spiral, the others 
 indistinct. Beneath the architrave, at the right of the second column, 
 there is a. greenish object, perhaps a curtain or lambrequin. Above this 
 
 1 They may he placed here rather than on the columns intentionally as ornaments of the back part 
 of the structure and not through carelessness in drawing. 
 
180 FIELD MUSEUM or NATURAL HISTORY ANTH., VOL. VII. 
 
 colonnade in the drawing, but really back of it, there is a similar entab- 
 lature. The frieze is ornamented with the figure of a winged lion, 
 crouching, left, and a dolphin with head downward, both in yellow. On 
 top of the cornice there is at the left end a large decorative volute of 
 greenish color, and at the right end a drab colored triangle which looks 
 like the beginning of a similar ornament or of a pediment. The left 
 end of the entablature rests on a slender whitish unfluted Ionic column, 
 which reaches to the bottom of the plaster; under the right end no col- 
 umn appears, but this part of the space between the two entablatures 
 is filled in with greenish gray color, the left edge of which is panelled, 
 an indication that this end of the colonnade was considered as solidly 
 closed. The space between this entablature and the top of the apse is 
 filled with a greenish band or plaque, which is ornamented with horizon- 
 tal yellow lines in the lower part and with a braid pattern in the upper 
 part, while the top edge is of open work. Color and technique indicate 
 that the band is supposed to be of bronze. At the left end it touches 
 a slender yellow column, but is not supported by it. This column, 
 which has the form of a vegetable stalk with leaves sprouting from the 
 side and a disc near the lower end, extends from the bottom of the plas- 
 ter contiguously with the apse to the top of the bronze band, where it 
 spreads into a sort of capital, upon which rested a slender Ionic column 
 belonging to the roof of the structure above. 1 
 
 The structure just mentioned which decorates the upper part of the 
 right field is a sort of pavilion, consisting of a roof supported by columns. 
 Of the ridge-pole and eaves only the incised lines, which served as a 
 guide for the painter, together with some mud-colored traces and bits 
 of brownish yellow, remain. The side of the roof is represented by a 
 broad band at the left, having the form of a double curve (inverted 
 cyma reversa), and a similar band at the right. On both bands only 
 scanty traces of paint remain. From above the lower front corner of 
 the roof a sort of acroterion projects obliquely upward, and from the 
 front of the ridgepole a sort of anthemion resembling a bunch of grass, 
 projects forward horizontally. At the same end of the ridgepole there 
 is an upright ornament consisting of a sort of bulb or pod bisected 
 vertically by a line which ends above the top in an over-hanging flower 
 with thickened stem. The outside of the bulb is dark red with whitish 
 edges. The interior is the red of the background. The roof is sup- 
 ported by three columns, one of which, beneath the front, has been 
 mentioned above as resting on the top of the vegetable column at the 
 right of the apse ; another is a plain slender Ionic column extending from 
 
 1 Of the lower end of this column which passed in front of the top of the apse only faint outlines 
 remain. 
 
JAN., 1912. ANTIQUITIES FROM BOSCOREALE. 181 
 
 the front of the ridgepole to the top of the rear colonnade, behind which 
 it is probably supposed to pass. The third column, which is heavier 
 and perhaps fluted, supports the lower right corner of the roof, and was 
 also probably thought to pass behind the colonnades. 
 
 Whether this pavilion is a second story above the colonnades, or 
 is a separate structure situated farther back in the field, may be doubted. 
 The fact that the colonnades would otherwise be uncovered, favors the 
 former view, but the lack of organic connection and the disproportionate 
 height of the upper structure indicate that the latter interpretation is 
 the more probable. 
 
 The constructions pictured in this fresco are examples of the fantastic 
 and freely imaginative architectural decoration of Mau's Fourth 
 Pompeian Style. The chief elements of the design, however, are ~ 
 doubtless based on experience. 1 ^ 
 
 Height, m. 1.80 ( = 5 ft. 10.86 in.). Width, m. 1.975 (=6 ft. 5.75 in.). Thick- 
 ness of plaster, ascertained by boring a small hole in the lower right corner, m. 0.127 
 ( = 5 in.). 
 
 Plaster to a considerable extent reset. There was a coarse under layer on top 
 of which a finer coating received the paint. Numerous, mostly small, pieces of this 
 outer layer are missing. 
 
 The red ground was applied first. In the structure on the left the yellow hor- 
 izontal band was painted before the columns which it connects; the blue of the ends 
 was put on after the columns, but before the top band and before the vegetable 
 column at the right. In the upper part of the same structure the small legs were 
 probably painted before the circumscribed palmettes; these before the remainder 
 of the band in which they occur. 
 
 The paint is much abraded and faded, especially in the upper part, where little 
 remains except thin mud-colored patches which probably were originally yellow. 
 
 1 An example of trellis work analagous to the upper part of the oblong enclosure may be found in 
 the House of Castor and Pollux at Pompeii, Nicolini, Case e Monumenti, Vol. i, Casa di Castore e Pplluce, 
 Plate 3. Besides the upper hoop there are two side hoops on which figures are perched. A circular 
 pavilion with four stages is represented in a Pompeian fresco published by Nicolini, op. cit. Vol. ii, 
 Descrizione Generate, Plate 31. For analogies in details of ornament of the lower story, cf. Rpux, 
 Herculanum el Pompei, Vol. I, plates 87 f. and Nicolini, op. cil. Descriz. Gen., plate 12 (circumscribed 
 palmette), Roux, op. cit. Vol. I, plate 41 (double trident). With the ornaments of the frieze of the rear 
 colonnade on the right cf. Roux, op. cit. Vol. I, plate 17 (griffin and dolphin). 
 
METAL OBJECTS. 
 
 BRONZE TABLE. 24407. [PLATE CXXXI.] 
 
 This table, the finest piece of the collection, was found in Villa I, in 
 the room of the wine-presses 1 (P), along with other articles which 
 indicated that that room had been converted into a sort of living apart- 
 ment, with the idea that it might be a safe refuge until the outbreak of 
 the mountain had subsided, a hope which was proved fallacious by the 
 presence of the skeletons 2 of two 3 men and a woman. The table had 
 been placed over the wooden cover 4 of the shaft which gave access to the 
 standard of the press-beam. This cover having become decomposed, 
 the table had been bent toward the opening and broken. Its present 
 good condition is due to modern repairs executed before it entered the 
 Museum. On the table were found a patera and two pitchers of bronze. 8 
 
 There is the usual green and blue oxidation. On top are some 
 patches of brown, which seem to be iron rust due to contact with some 
 piece of that metal. 
 
 The table was made of five pieces, that is, the top, three legs and the 
 brace, all of which are cast. The component parts were doubtless 
 soldered together, but the joinings, which now appear, are mostly, if 
 not all, modern. There seem to be no traces of rivets. 
 
 The top is a round sheet of metal, plain on its upper surface, but 
 with the edges turned down so as to give the appearance of great thick- 
 ness, and molded in the form of the cyma recta. The cyma is decorated 
 with a conventionalized leaf-pattern (Stabornament) carried out plas- 
 tically as well as by the usual grooves. 
 
 The hollow legs are shorter than those of modern tables, because it 
 was intended to stand beside a couch in accordance with the ancient 
 custom of reclining at meals. They are immovable, unlike those of 
 many tables of that time which could be spread out and folded up. In 
 form they represent the hind legs of lions, except that the backs are 
 plain above the brace. Muscles and sinews are carefully indicated, 
 together with a system of veins which run about the toes and up the 
 foot, and appear also at the back of the leg. 
 
 1 Pasqui, op. cit. col. 478. 
 
 Ibid. coll. 473 f. 
 
 1 Besides the skeleton found in the pit with the Treasure. 
 
 Ibid. col. 478. 
 
 Ibid. 
 
 182 
 
JAN., 1912. ANTIQUITIES FROM BOSCOREALE. 183 
 
 The plain flat three-arm brace rests upon short stubs which project 
 from the legs at about two-thirds the height of the table. 
 
 Similar tables with, or more often without, the brace, sometimes 
 with claw-feet, sometimes with hoofs, as well as a more conventionalized 
 type, in which only the feet preserve the original animal form, are rep- 
 resented on a number of Roman monuments. To the Romans of the 
 Empire, however, they must have seemed of antique or old-fashioned 
 style. We find substantially the same forms on Hellenistic grave- 
 reliefs from the Greek Orient, and, occasionally, in place of the 
 ordinary rectangular table, on Attic grave-stelae of the fourth century. 
 The elements seem to derive ultimately from Babylonia (tripod) and 
 Egypt (legs of animals) through the medium of Ionia. 1 
 
 Height (average), m. 0.538 ( = i ft. 9.18 in.). Diameter, m. 0.649 (~ 2 ft. J-55 
 in.). Height of edge, m. 0.0339 ( = I -33 in.). Thickness of metal, about m. 0.003 
 (=0.118 in.), sometimes less, often more. 
 
 One leg cracked just below knee, nearly through from front to back. One claw, 
 on same leg, freshly broken off. Feet of both other legs cracked. Brace and top 
 seem to have been resoldered to legs after excavation. 
 
 BRONZE LANTERN. 24404. [PLATES CXXXII, CXXXIII.] 
 
 Among the finds in the room of the olive-press 2 (Y) of Villa I 
 were two lanterns differing in size but not in form, one of which came 
 to Field Museum. 
 
 It is in fairly good condition except that the cover is indented and 
 cracked and the lamp loose. It is thickly covered with a green oxida- 
 tion. No trace of the transparent cylinder remains. 
 
 The lantern, as preserved, consists of the frame which contains the 
 lamp, the cover and the handle with the chains for suspension. These 
 parts may be seen clearly in the view given on Plate cxxxii, which 
 shows the lantern distended. 
 
 The frame, which rests on three short round legs, consists of a bottom 
 and a top, connected by upright side-pieces. The flat bottom has a 
 rectangular hole in the center for the attachment of the dowel or rivet 
 which held the lamp. About the outer edge there is an upright rim 
 which includes the bottom and is soldered to it. A lower secondary 
 rim is soldered to the bottom just inside the other, the space between 
 them serving to hold the transparent cylinder. To the inside of the 
 uprights thin strips are attached by means of rivets, a small space to 
 receive the vertical edges of the cylinder being left between the two 
 
 1 Cf. Phineus vase and Furtwaengler and Reichhold. Griech. Vasenmalerei, I, p. 211. 
 
 2 Pasqui, op. cit. col. 499, "si rinvennero entro la buca dell' arbor, come se al momento delta 
 catastrofe si fossero trovate appese all' arbor medesimo, e in seguito col consumarsi di questo fossero 
 cadute nella buca." 
 
184 FIELD MUSEUM OF NATURAL HISTORY ANTH., VOL. VII. 
 
 pieces. About half way up the sides of the frame are two small eyelets 
 the purpose of which is uncertain. It has been suggested 1 that one 
 was intended to hold the extinguisher, the other a pick. The hollow 
 underside of the top of the frame 2 enclosed the upper edge of the cylinder. 
 The material of which this consisted was probably horn ; at least traces 
 of that substance have been found in the Berlin lantern which comes 
 from another villa near Boscoreale, 3 and in a lantern from Pompeii. 4 
 That bladders were used for the same purpose we know from Martial 
 (xiv, 6 a). 5 
 
 The dome-like cover, which, when the lantern is closed, rests on the 
 upper ring of the frame, is ornamented with bands of encircling grooves. 
 In it are two pairs of vents, the members of which are placed opposite 
 each other, one pair consisting of triangular holes, the other of two 
 three-quarter circles each, the flat sides facing each other. In the top 
 there is a ring and staple, by means of which the cover could be connected 
 with the handle, while at either side there is also a ring and staple 
 through which pass the braided side-chains connecting handle and frame. 
 
 The handle is formed of two separate flat bars, the upper bar having 
 a loop, a conventionalized bird's neck, and a knob at each end, the lower 
 turning downward at the ends, to which are attached by means of rings 
 the above mentioned side-chains. Both bars play freely on a stem, 
 which by means of a short chain and a hook could be connected with the 
 ring in the top of the cover. 
 
 As ordinarily carried, the lantern was probably held by the upper 
 bar only. Owing to the free play of the bars on the stem the frame 
 would remain steady even when the hand turned to and fro. 6 When 
 there was no wind the lantern could be hung with the lid raised, in which 
 arrangement more light would be cast, and the smoke could escape more 
 freely. In this case also the lantern would be suspended from the upper 
 bar and would appear in distended form. When the lantern was held 
 by means of both handles there was no play on the stem, the cover was 
 down and might be hooked or unhooked indifferently. 
 
 The lamp is composed of a broad band tapering toward the top and 
 ornamented in the lower part with shallow encircling grooves, and a 
 basis, to which it is fastened, consisting of a heavy lead ring encased in 
 bronze and covered across the top with a sheet of bronze which serves 
 
 1 Pernice, Jahrb. XV (1900), Am. p. 192. However, neither eyelet seems well adapted to hold the 
 handle of an extinguisher. 
 
 2 The uprights contract at the place of junction with the upper part of the frame, but thicken 
 again above, where they form short stubs with eyelets and ornamental notches. 
 
 Cf. Pernice, loc. cit. 
 Ibid. 
 
 Pasqui, op. cit. says (col. 500), though without quoting any authority, that isinglass (lapis 
 specularis, Ital. talco) was also employed. 
 So Pernice, loc. cit. 
 
JAN., 1912. ANTIQUITIES FROM BOSCOREALE. 185 
 
 as bottom to the lamp, and is ornamented on the under side with four 
 shallow concentric grooves. There was probably a cover which is now 
 missing. Within the lamp is the wick-holder which tapers somewhat 
 toward the top and has the form of a wide open ring or ferrule. Whether 
 it originally belonged to this lamp is uncertain. At any rate it is not 
 in its proper place, for it is stuck into a gummy substance which is 
 probably the residuum of the oil. 1 
 
 At present the lamp is not fastened to the lantern-frame, nor are 
 there any traces on it of means of attachment excep't two oblong abra- 
 sions on opposite sides of the upper part where apparently some sort 
 of brace was soldered in order to hold it fast. On the frame, however, 
 there are no vestiges of other means of attachment than the hole in the 
 bottom previously mentioned. In the lanterns in Berlin and Pompeii, 
 before cited, the dowel or rivet held the lamp by means of a lunated 
 attachment affixed to the under side of the latter. The bottom of 
 the frame in the Berlin lantern appears to have been double, the dowel 
 passing through both, while the upturned edge formed the inner rim. 
 In the lantern of Field Museum the lamp was undoubtedly riveted to 
 the bottom of the frame, but that lamp can hardly have been the lamp 
 which the frame now contains. 
 
 Height, to top of staple in center of cover, m. 0.232 (=9.13 in.); distended, 
 m. 0.41 ( = l ft. 4.14 in.). Width (across uprights), m. 0.146 ( = 5.74 in.). Thick- 
 ness of bottom, about m. 0.0008. Hole in bottom, m. 0.016X0.003. Height of rims, 
 outside, m. 0.014 ( = -55 in.) ; inside, m. 0.008, and less. Width of uprights, m. 0.021 
 (at bottom) to m. 0.005 (upper extension). Height of lamp, m. 0.028 (upper part) 
 +0.011 (base) =0.039 ( = 1.53 in.). Diameter of lamp at top, m. 0.047X0.0427. 
 Height of wick-hclder, m. 0.026. Diameter at top, m. 0.012. 
 
 One of the chains has a modern repair of iron wire. 
 
 BRONZE BATH-TUBS. 24356, 24357. 
 [PLATES CXXXIV, CXXXV.] 
 
 Two large oblong bath-tubs of bronze. These tubs were found, one 
 against the other, in the entrance-court (A) of the first villa, 2 where 
 they appear to have been temporarily stored. Where they originally 
 belonged is uncertain. They could not have been taken from the bath- 
 rooms, as the frigidarium had a stationary basin, and the other two 
 rooms are too small; indeed the larger of the tubs would not pass through 
 the doors. 3 They may have served for occasional use 4 in some other 
 
 1 When a particle of this substance was burned it gave forth an aromatic odor, like that of incense, 
 indicating that the oil had been perfumed. Consequently the slur of Juvenal. At hie qui pallidus 
 adfertur misero libi caulis olebit lanternam (v. 86 ff.) . would not in the case of this lamp have been justi- 
 fied. 
 
 1 Pasqui, op. cit. col. 424. 
 
 1 Pasqui, op. cit. col. 522. 
 
 4 In which case the speciali condutture di acquo, the absence of which in the bath-rooms is noted 
 by Pasqui, I. c., would not have been necessary. 
 
i86 FIELD MUSEUM OF NATURAL HISTORY ANTH., VOL. VII. 
 
 part of the house, or, as has been suggested, 1 they may have been 
 taken from some other villa. 
 
 The tubs are in a very good state of preservation, except for some 
 cracks which were rudely repaired before they entered the Museum. 
 They are covered with an oxidation of various shades of green and 
 iridescent blue. 
 
 The body of each tub consists of five pieces of metal, that is, two 
 sides, two end-pieces and the bottom. 2 The sides and the end-pieces 
 are brazed together. Traces of the seams may be seen under the 
 oxidation, near the ends of the side pieces. The side and end pieces 
 are turned over at the top, and hammered so as to form flat rims, the 
 outer edges of which are turned under in a sort of roll. Through this 
 roll passes a heavy iron wire. The lower edge of side and end pieces 
 is turned under at right angles, thus forming a ledge upon which the 
 bottom rests, 3 protected from contact with the floor. Four handles, 
 two on each side, are riveted to the larger of the tubs (No. 24357). 
 
 The shape is similar to that of modern tubs. The sides slant but 
 slightly outward. The ends have a more gradual slope, the greater 
 inclination from the perpendicular being in the tub with the handles. 
 The rims, which are wider at the ends than at the sides, are both bev- 
 eled at the inner edge, that of the smaller tub (No. 24356) at the outer 
 edge as well. 
 
 The larger tub could be emptied by means of a small hole in one 
 end, near the bottom. 
 
 The smaller tub is entirely destitute of ornament ; the other is plain 
 except for the handles. These consist each of two pieces, which are 
 cast separately, namely, the attachment and the ring or handle proper. 
 The former is a rounded plate with ears, through which pass rivets, 
 at either side above. The plate serves as a background for a lion's 
 mask, from the top of which rises a flat projection, which forms a 
 sort of elbow, the other end of which is riveted to the side of the tub. 
 The front of this elbow is represented as covered with hair parted 
 vertically in the middle, a somewhat loosely carried out suggestion 
 of a piece of a lion's skin. The mask has the mouth open with teeth 
 visible and tongue protruding. The eyeballs and lower lids are in- 
 dicated. The pupil is shown by a small indentation. Around the 
 face is a fringe of mane. The ring, which is large enough to slip over 
 the mask, but not over the plate, is channeled, except on the inside. 
 
 The lions' masks, while excellent in design and technique, are 
 
 1 Pasqui, /. c. 
 
 1 Pasqui, op. cit. col. 424, errs in saying that the tubs are made ' 'in un solo pezzo." 
 ' It may seem strange that the bottoms were not fastened in the same way as the sides and ends, 
 and it is possible that they are an ancient repair, but it is more likely that they are the original con- 
 struction, and that the folded edge was employed in order to secure greater sustaining power. 
 
JAN., 1912. ANTIQUITIES FROM BOSCOREALE. 187 
 
 somewhat less spirited than a ring-holding mask from Nemi, 1 which 
 is otherwise rather similar, and lack the charm of style which exists 
 in the typically n'ot very different lions' heads in the gymnasium at 
 Priene, 2 belonging to the second century B. C. 
 
 Although bathing had been practiced by the Greeks from Homeric 
 times, and by the Romans of the republican period, only a few bathing- 
 vessels have survived from antiquity. In the Naples Museum there y iao 3 
 are two bronze tubs from Pompeii. There is a marble tub 4 with fluted 
 sides and ornamental lion-mask handles in the Louvre. 
 
 24356. Length (top), outside, m. 1.951 (=6 ft. 4.8 in.); inside, m. 1.71 ( = 5 ft. 
 7.3 in.). Length (bottom), inside, m. 1.53 (=4 ft. X in.). Width (top), outside, 
 m. 0.863 ( = 2 ft. IO i n -); inside, m. 0.704 ( = 2 ft. 3^ in-)- Width (bottom), inside, 
 m. 0.565 ( = i ft. 10% in.). Depth, ends, m. 0.538 ( = i ft. 9 A in.), 0.544 ( = 1 ft- 
 9iV in-), center, m. 0.523 ( = i ft. 8^i in.). Width of roll (average), m. 0.0193 ( = -759 
 in.). Width of ledge, on which bottom rests, about m. o.or (=0.39 in.). Thickness 
 of metal, about m. 0.002 (=0.078 in.). At one end of one side, crack, mended with 
 two iron strips riveted under rim, the copper rivet-heads showing on top (modern 
 repair). 
 
 2 4357- Length (top), outside, m. 2.143 ( = 7 ft. }4 in.); inside, m. 1.88 (= 6 ft. 
 2 in.). Length of bottom, inside, m. 1.465 ( = 4 ft. 9^ in.). Width (top), outside, 
 m. 0.866 (=2 ft. 10.09 in-); inside, m. 0.713 ( = 2 ft. 4.07 in.). Width (bottom), 
 inside, m. 0.5795 ( = * ft. 10.8 in.). Depth, ends, m. 0.52 ( = I ft. 8K in.), 0.503 ( = i 
 ft. 7^f in.), center, m. 0.496 ( = i ft. 7^ in.). Width of roll (average), m. 0.0196 
 ( = .77 in.). Width of ledge, about m. 0.0132 ( = 0.519 in.). Thickness of metal, 
 about 0.003 ( = .n8 in.), but, at edges of hole, m. 0.004 ( = >I 57 m -)- Diameter of 
 hole, m. 0.024 (=0.944 in.)Xo.O22 (=0.866 in.). Diameter of a ring, m. 0.195 
 ( = 7iiin.) X m. 0.155 (=6.Hs in.). Thickness of rings, about m. 0.0226 ( = 0.889 in.). 
 On one side, under rim, two iron strips riveted; near turn at one end, two others, and 
 a copper strip which is also probably modern. 
 
 BRONZE CASSEROLE. 24410. [PLATES CXXXVI-CXXXVIII.] 
 
 Shallow casserole found in Villa I on the floor of the corridor, near 
 the large cupboard. The preservation is excellent, but there is a 
 thick coating of green and blue oxide. It is cast in two pieces, handle 
 and bowl, which are riveted together. After the casting, the bottom 
 of the bowl was ornamented with concentric circles finely turned on 
 a lathe. 
 
 The bowl rests on a substantial base-ring. The full round curve 
 of the sides secures large capacity in proportion to the width and 
 
 1 Notiz. degli Scavi, 1895, p. 369. fig- i. 
 
 1 Priene, p. 271, fig. 278. 
 
 ' Migliozzi and Monaco, Nuava Guida Generale del Museo Nationale, p. 133. Nos. 73003, 73007. 
 One of them is probably that mentioned by H6ron de Villefpsse A/on, et Mim. Fond. Piot, v, p. 20. 
 n. 3, who cites the illustration in Nicolini, Case e Monumenti, II, Descritione Generale, plate 62. It is 
 rounded at one end, and flat and also lower at the other. 
 
 4 Villefosse, /. c. quoting Clarac, pi. 253, No. 637 ( = Reinach, Rip. i, p. 125). 
 
i88 FIELD MUSEUM OF NATURAL HISTORY ANTH., VOL. VII. 
 
 depth. In the inside the center is occupied by a broad low boss sur- 
 rounded by a molding, which has the effect of a collar. The wide 
 lip is flat on the bottom, and molded on top, the surface being broken 
 into two parts, a broad wave inside and a narrow plain roll on the outer 
 edge. The bowl is ornamented with fine raised encircling lines, two 
 between boss and collar and two on the upper side of the lip, and 
 with fine grooves, one on either side of the lower outer corner of the 
 lip. There probably are also on the inner edge of the lip two fine 
 raised lines, and there are possible traces of one or two raised bands 
 on the inside of the bowl. There are also doubtful traces of a leaf- 
 pattern on the upper inner edge of the lip. 
 
 The handle, which has four ribs on each side and a molded collar 
 next to the lip, is attached to the under side of the bowl by means of 
 a thin extension cut so as to form two portions, which converge toward 
 each other. This attachment-piece is held to the bowl by means of 
 four rivets, and is decorated on either side with a stamped pattern 
 of scrolls and arabesques. 1 The outer end of the handle has the form 
 of a ram's head. The treatment is decorative and conventional, as 
 may be seen in the elongated shape and pointed ears, but the modelling 
 of the bony structure of the horn and of the end of the nose is more 
 careful than might have been expected on a common household utensil. 
 
 A casserole, which in form and decoration is substantially identical, 
 was found in another villa near Boscoreale, and is now in Berlin. 2 
 Another is in the museum at Cairo. 3 
 
 The exact use for which these objects were intended is not certain. 
 It has been suggested by Pernice 4 that they were employed for such 
 kinds of food as were served in the dish in which they were cooked. 5 
 However, as they were probably held in the hand of the person eating 
 from them, they can scarcely have been used for any cooking that 
 would have heated the handle, and it would seem that they are to 
 be regarded chiefly as hand-plates. 
 
 Length, m. 0.135 (handle) +0.234 (diameter of bowl) =0.369 ( = 14.52 in.). 
 Height, m. 0.056 ( = 2.2 in.). Diameter of base-ring, m. 0.113. Diameter of boss, 
 m. 0.054. Length of handle on under side, m. 0.185 ( = 7- 2 8 in.). 
 
 1 For a similar pattern cf. Roux, op. cit. Vol. vii, plate 69. 
 
 2 Pernice, op. cit. p. 191, fig. 20. 
 
 Published in Jahrbuch, XVIII (1903). Am. pp. 143 ff., p. 148, fig. 3, by F.von Hissing, who remarks 
 that that museum possesses no pieces which on external evidence must be dated in Hellenistic times. 
 
 4 Op. cit. pp. 191 f. 
 
 5 The Naples casserole, No. 73455. can not have been used for liquid food. See Professor Tar- 
 bell's Catalogue of Bronzes, etc., in Field Museum, p. 134, No. 211. This counts also against Less- 
 ing's theory (Jahrb. XIII (1898), Anz. p. 35) that these objects were used to contain food or sauce which 
 was poured by the servants onto the plates of the guests. 
 
JAN., 1912. ANTIQUITIES FROM BOSCOREALE. 189 
 
 BRONZE AMPHORA. 24408. [PLATE CXXXIX.] 
 
 This small amphora was found along with some rough terra-cotta 
 vases in a wooden chest just inside the entrance to Villa I. 1 It is poor- 
 ly preserved, especially , the bottom, the edges of which have been 
 nearly eaten out, so that it is held by only a small strip. The vase 
 is covered with thick, mostly dark blue oxide. Body and handles 
 are cast separately. 
 
 The rather full body rests on a plain flat bottom, and passes by a 
 continuous curve to the short neck and flaring lip. Vertical handles 
 with leaf shaped lower attachment are soldered to the side and neck, 
 the top of the handle being lower than the lip. 
 
 The outside of the vase is unornamented except for a fine encircling 
 groove near the top. Inside the lip there are three encircling rings 
 with a groove at either side and also a single groove. 
 
 In shape this vase lies midway between the two common types of gg 
 Roman bronze amphorae which have, the one a wide rounded body 777 y- 
 and short neck, the other^a slender, almost angular body with a rather 
 long tapering undefined neck, and differs from both in the wide flaring 
 lip and the lack of a base. It is very similar to an amphora repre- 
 sented as on the stylobate of a small building in a fresco of the Casa 
 della Caccia, Pompeii.^ 
 
 Height, m. 0.198 ( = 7.79 in.). Diameter, m. 0.121 (=4.78 in.)Xo.n8 (=4.64 
 in.). Diameter of bottom, m. 0.055 ( = 2.16 in.); of top, m. 0.074 ( = 2.91 in.). 
 Height of handles, m. o.m (=4.37 in.). Thickness of side, m. o.ooi+. Distance 
 of outside groove from top, m. 0.005. 
 
 About in the center of the bottom, dent (diameter m. 0.002) purposely made. 
 
 BRONZE PITCHER. 24406. [PLATES CXL, CXLL] 
 
 Pitcher, probably one of two which were found in Villa I, near 
 the oil-vat 5 (Room Y). It is in good condition except that the handle 
 is cracked through near the lower attachment. There is a thick coat- 
 ing of mostly dark green oxide. Body and handle are cast separately. 
 
 The contour of the body has the form of two rounded obtuse angles, 
 one convex, the other concave, joined together, the greatest diameter 
 being below the center. The bottom is slightly concave but without 
 
 1 Pasqui. op. cit. coll. 409 f. 
 
 1 Roux, Herculanum el Pompei, Vol. vii, plate 79; Schreiber, Die alexandrinische Toreutik, p. 364. 
 fig. 103. 
 
 ' Roux, op. cit. ibid.; Schreiber, op. cit. p. 366, fig. 104. 
 
 Zahn, Die schoensten Ornamente, etc.. Vol. ii, plate 60. 
 
 5 Pasqui, op. cit. col. 499, fig. 68. The top of the handle, the part which served as thumb-rest, is 
 less pointed than in the pitcher there illustrated, but the cut is so small and poor that much weight 
 should not be attached to the slight difference. 
 
igo FIELD MUSEUM OF NATURAL HISTORY ANTH., VOL. VII. 
 
 base-ring. The mouth is almond-shaped with spout at the apex. 
 The body is unornamented. 
 
 The handle terminates below in an acanthus palmette, 1 and sepa- 
 rates above into a thumb-rest and arms which rest on the top of the 
 lip. These arms, which are rounded but imitate no natural form, end 
 in a triple disc-ring. The thumb-rest, which has a narrow band on 
 the upper side and a heavy groove on the under side, both longitudinal, 
 has a knob at the upper end. At the other end it appears as though 
 secured by a wide band which is ornamented with beading in the 
 center and a groove near each outer edge. The motive is ultimately 
 of Egyptian origin. 2 The back of the handle has in the center a heavy 
 longitudinal groove, with a lighter groove at either side. This orna- 
 ment parts toward the lower end, and terminates at either side in the 
 volutes which form the top of the lower attachment. 
 
 A pitcher with a similar but somewhat more globular body is 
 
 painted in yellow on a blue background in a medallion in the Casa del 
 
 YI' ^q Centaur o Pompeii. Another example with globular body with less 
 
 pointed spout is afforded by a diminutive bronze pitcher from the 
 
 Athenian Acropolis, probably a votive substitute. 4 
 
 Handles with thumb-rest are numerous among the Roman bronze 
 ftp fj, y t vases The thumb-rest is, however, much earlier. 6 The arms, 
 which rest on the back part of the top of the vase, are probably a 
 simplification of a naturalistic form, such as the front legs of an animal 
 or the arms of a human figure, a type which is at least as old as the 
 fifth century B.C., 7 and is probably older, for the simplified form occurs 
 on vases of about that period found in Italy, e. g. a bronze pitcher 
 with long spout in Karlsruhe. 8 
 
 Height (extreme), m. 0.134 ( = 5- 2 7 m -); of body of vase, m. 0.089 (=3-5 m -) 
 Diameter, m. 0.073 ( = 2 -&7 m -)- Diameter of bottom, m. 0.045 ( = I -77 i fl -); of top 
 m. 0.037X0.05. Thickness of metal, about m. 0.002. Height of handle, m. 0.118 
 (=4.64 in.). 
 
 1 For a similar palmette cf. the bronze handle in the Louvre, Reinach, Repertoire de la statuaire. Vol. 
 ii, p. 744, No. 5- 
 
 Cf. Prisse d'Avennes, Histoire de I'art igyptien. Vol. i, painted columns from Karnak. 
 $Zahn, op. cit. Vol. ii, plate 59. 
 
 De Ridder, Cat. des bronzes de I'Acropole d'Athenes, No. 163, fig. 27. 
 1 For an example with knob, see Roux, op. cit. Vol. vii, plate 76. 
 
 Cf. Olympia, iv, plate 55, No. 927, said by Furtwaengler to resemble the ear of an animal. 
 7 Cf. de Ridder, op. cit.. No. 176. 
 
 Schumacher, Beschreibung d. Samml. antiker Bronzen, plate x, No. 22, p. 109, No. s8oa. cf. 
 No. 582 (x, 23). 
 
JAN., 1912. ANTIQUITIES FROM BOSCOREALE. 191 
 
 BRONZE PITCHER. 24405. [PLATES CXLII-CXLIV.] 
 
 Pitcher, perhaps the other member of the pair (cf. 24406) found 
 near the oil-vat. 1 It is in good condition, though covered with thick, 
 mostly dark blue oxide. The body of the vase and the handle with 
 its attachments are cast separately. 
 
 The body of the vase consists of a nearly globular lower part rest- 
 ing on a low base, the interior of which is turned, and a plainly differ- 
 entiated neck, the top of which, forming the lip, flares very slightly. 
 There is a rather sharply defined spout. 
 
 The vase is ornamented with a slight groove at the top of the 
 base-ring and about four fine encircling lines on the lower part of 
 the neck. The base of the neck is raised slightly above the surface 
 of the shoulder. 
 
 As in No. 24406, the handle separates above into a thumb-rest, 
 the base of which is bound by an ornamental band, and arms which 
 rest on the top of the vase. The thumb-rest has the form of a leaf with 
 recurved end, and is decorated on the upper surface with two longitu- 
 dinal lines. The arms, which imitate no natural form, are rounded 
 on top and taper to beveled ends. 2 On the front of the handle, just 
 beneath the thumb-rest and facing the mouth of the vase there is a 
 lotus-flower pointing downwards. 
 
 The lower attachment of the handle, which has the form of a plaque 
 with three convex sides, is fastened to the vase by means of four nails 
 or rivets, two above in ear-like projections at either corner, and two 
 in the lower part, one on each side, and terminates beneath in a simple 
 palmette with a volute 3 at either side. 
 
 The plaque serves as the background for the relief of an infant's 
 face with full round cheeks and broad hollow nose. The eyes slant 
 slightly upward and outward, the right eye a trifle more than the 
 left. The eyebrows and the upper eyelids are represented plastically; 
 pupil and iris are indicated by indentations. The hair is arranged 
 in rows of naturalistic curls, as in a figure supposed to be Ganymede 
 on a bronze umbo from Carnuntum. 4 In the hair there is a diadem 
 with leaf -pat tern ornament, which may be compared with the wreath 
 in the hair of a similar mask on a ewer published by Schreiber, 5 and 
 with the lower band of the headdress of the figure on the umbo above 
 
 1 Pasqui, op. cit. col. 499. The pitchers found on top of the table (24407) were similar to this, 
 but neither was identical, if Pasqui's statement (col. 478) that their handles were ornamented each with 
 a mask of a bacchante is correct. 
 
 * Cf. 24406. 
 
 1 Cf. Schreiber, Alexand. Toreutik. p. 377. 
 
 4 Muensterberg, Oest. Jahreshefte, vi. plate 4. 
 
 ' Alexand. Toreutik, p. 370, No. 161 a, "Kindermaske mit Blatterkranz im Haar," 
 
iQ2 FIELD MUSEUM OF NATURAL HISTORY ANTH., VOL. VII. 
 
 mentioned. Its presence is in accordance with the Attic custom as 
 exemplified in various Attic grave-stelae. 1 This band serves also as 
 a transitional motive between the mask and the back of the handle, 
 as may be seen more clearly in the handle of a bronze vase in Karls- 
 ruhe. 2 
 
 The ornamentation of the back of the handle divides at the lower 
 end above the attachment into three spreading leaf ends. 3 At the 
 top there is a spray of three berries and two groups of three leaves 
 each, probably of the laurel, pointing downward. 4 
 
 Immediately beneath the laurel-spray there is a bird with long 
 beak pointed upward 5 obliquely to the right, high pointed wing and 
 long legs. It is the bird of the silver cup, No. 13 of the Boscoreale 
 treasure, 6 and is probably to be regarded as a heron, 7 or a stork. 
 
 Height (extreme), m. 0.167 ( =6.57 in.); height of body of vase, m. 0.128 ( = 5.04 
 in.); height of neck, m. 0.035 ( = 1.37 in.). Diameter, m. 0.109 ( = 4.29 in.); diameter 
 of base, m. 0.057 ( = 2.24 in.); diameter of neck in center, m. 0.0515 ( = 2.02 in.). 
 Thickness (average of neck), about m. 0.0035. Height of handle above body of 
 vase, m. 0.042 ( = 1.65 in.). 
 
 BRONZE PITCHER. 24409. [PLATES CXLV-CXLVIL] 
 
 Pitcher or ewer 8 found in a bedroom (cubiculum L) of Villa I, 
 lying on the floor. 9 It is in poor condition. One side is not quite 
 complete, having been restored from fragments. The sides are cor- 
 roded through, and the entire vase is heavily oxidized in dark green 
 and blue. Handle and vase were cast separately. 
 
 The rather full body, with the greatest diameter at about half the 
 height, passes to shoulder and wide neck by a continuous concave curve. 
 There is a low base, the underside of which is ornamented with con- 
 centric circles turned on a lathe. The wide horizontal lip is orna- 
 mented near the outer edge with a narrow band which has a groove 
 at either side, and near the inner edge with a single groove. On the 
 inside of the mouth hear the top there is a slight encircling ridge or 
 seam. 
 
 1 E. g., Conze, Die allischen Grabreliefs, ii, plate 161. 
 
 2 Schumacher, Beschreibung d. Samml. antiker Bronzen, No. 611, plate xi. n. 
 ' Cf. Schreiber, Alexand. Toreutik, pp. 376 ff. 
 
 * Similar motive but different plant, Schreiber, op. cit. p. 345, (fig. 84/3). Cf. ibid. p. 371, No. 145 /3. 
 " Lorbeerzweig mit Fruchten," and the silver vase from Hildesheim, Pernice and Winter, Hildes- 
 heimer Silberfund, plate 9. 
 
 s Cf. the bronze figurine in Cologne, Reinach, Rep. de la slat. Vol. iii. p. 224, No. 4. 
 
 Villefosse, op. cit. 
 
 7 Zahn, in Priene, p. 417, note. 
 
 8 ' 'Grande vaso da mescere con collo a tronco di cono e con ansa fusa nella cui estremita inferiore 
 sono rappresentati a basso rilievo due galli combattenti." Pasqui, op. cit. col. 433, b. ; fig. 25 (col. 432). 
 
 ' " Poco distante dall'angolo destro delta porta," Pasqui, ibid. 
 
JAN., 1912. ANTIQUITIES FROM BOSCOREALE. 193 
 
 The upper part of the handle has at either side a volute and a 
 long-beaked bird's head which is attached to the outer vertical edge 
 of the lip, and, in the center, a thumb-rest consisting of a leaf with 
 recurved end terminating in a small knob. The leaf is, as it were, 
 held in place by an ornamented transverse band. 
 
 The use of birds' heads, as a transitional motive between handle 
 and mouth, occurs very frequently in metal vases of the Roman period, 
 and occasionally in other materials. 1 The examples which were known 
 up to the year 1894 may be found collected in Schreiber's Alexan- 
 drinische Toreutik. The list there given does not include any speci- 
 mens from Greece or the eastern part of the Roman Empire, with the 
 exception of two pieces in the Egyptian Museum of the Vatican, 2 
 nor any from definitely ascertained pre-Roman strata. A number 
 of examples in bronze and terra-cotta have since been found in Priene 3 
 and Pergamon, 4 but there, does not appear to be sufficient external 
 evidence to establish for them a date prior to the end of the Attalid 
 kingdom. However, it has been shown by Schreiber in the above 
 mentioned work that, whatever the date of the actual vases with 
 the motive in question may be, the majority of the types of shape and 
 decoration are Greek of the Hellenistic period, that the most impor- 
 tant center of manufacture was probably Alexandria, and that it 
 is reasonable to attribute to the art of that city, which was strongly 
 influenced by the naturalistic tendency of Egyptian decoration, the 
 formation of this inorganic and un-Hellenic method of attachment. 5 
 
 The handle widens at its lower end, forming a sort of plaque for 
 attachment with two convex sides meeting beneath in a simple pal- 
 mette between volutes. On this plaque is a relief of two game-cocks 
 confronting each other, as if about to fight. They stand on a ledge 
 which juts out sharply from the background. The treatment of 
 the relief is freely naturalistic, as in a figurine from the Athenian Ac- 
 ropolis, 6 while the group is similar to that on a nestoris from South 
 Italy, 7 and a bronze handle of advanced archaic style in the Forman 
 collection. 8 
 
 Just above the heads of the fowls are two objects which look like 
 feathers crossing each other, but are perhaps rather to be regarded 
 
 1 Cf. Schreiber, Alexand. Toreutik, p. 382; Jahrb. xix. Am. p. 56, No. 47, fig. 12. 
 
 1 P. 438. 
 
 1 Priene, pp. 282 (fig. 295). 386 (fig. 490). 
 
 Conze, Abhandl. Berl. Akad. 1902, p. 10, n. i. 
 
 Cf. von Bissing, Jahrb. XVIII (1903), Am. p. 146. 
 
 De Ridder, Cat. des bronzes de I'Acropole, No. 539. fig. i?6 ( = Reinach, Rip. de la slat. Vol. ii, 
 p. 775. No. 5). 
 
 7 Mayer, Roem. Mitteil. XII (1897). p. 227, fig. 14, p. 210. 
 
 Reinach, op. cit. Vol. iii, p. 225, No. 2. Cf. also Richardson, Am. Jour, of Archaeol. II (1898), 
 pp. 199. f., plate vi. 
 
194 FIELD MUSEUM OF NATURAL HISTORY ANTH., VOL. VII. 
 
 as palm-branches, which are used so freely as a decorative motive in 
 Pompeian frescoes that no special allusion need be sought in order to 
 account for their presence here. There was an approximately simi- 
 lar representation of a single palm-branch on the handle of a silver 
 casserole found near Zurich. 1 
 
 The back of the handle, which has fine beading down each edge, 
 ends in appearance, though not in reality, in a volute at either side 
 with a recurved leaf between them, a repetition on a smaller scale 
 of the terminal motives at the top. Volutes and leaf form the upper 
 boundary of the attachment-plaque. 
 
 The space between the transverse band at the top and the re- 
 curved leaf at the bottom is occupied by three designs in relief, name- 
 ly, a mask with a garland above and a basket beneath. The mask, 
 which faces to left, has the deep set eyes and strong masculine though 
 beardless profile of a Hellenistic portrait. The head is represented 
 as wearing a sort of cap with puffed sides, beneath which the hair 
 falls in curls at the back. 2 The central portion of the garland hangs 
 in a half-circle from two points just beneath the transverse band, 
 while the long ends reach nearly down to the mask. 3 About in the 
 center of the space enclosed by garland and mask there is a bit of 
 incrustation which may conceal some small object. Beneath the 
 mask the shallow wicker basket has, along the top, a row of dots, 
 perhaps representing fruit, 4 perhaps merely ornamental and, at 
 either side, a dependent streamer terminating in a ball, 6 probably 
 originally inlaid with silver, which has disappeared. Above the 
 basket there were two smaller balls. 
 
 Vases of this style are numerously represented in the Naples Mu- 
 seum, as may be seen from the list given by Schreiber, 7 and are found 
 occasionally outside of Campania. There is an example from Bosco- 
 reale in Berlin. 8 From the same site comes a vase of similar shape, 
 but without thumb-rest or ornament. 9 A terra-cotta vase with no 
 thumb-rest, but with a transverse band on the handle, was found 
 at Priene. 10 According to Schreiber, 11 vases and handles of the same 
 
 1 Schreiber, op. cit. p. 319, No. 9, a, fig. 61. 
 
 2 Cf. Schreiber, op. cit. p. 349, No. 86, a) (portrait bust), p. 357. No. 107, ft) (mask with cap). 
 
 * For similar position and arrangement, cf. Schreiber, op. cit. p. 345, fig. 86, ft) ; cf. also ibid. p. 467. 
 
 * Cf. Reinach, Rip. de la slat, i, p. 34, plate 155. 
 
 C>Cf. Zahn, Die schoensten Ornamente, etc. Vol. ii, plate 70. 
 
 Cf. Schreiber, Alexand. Toreutik, p. 35L No. 93 ft- 
 
 7 Alexand. Toreutik, pp. 344 ff. 
 
 1 Jahrbuch, xv, Am. pp. 194 ff., fig. 24 (Pernice). 
 
 * Ibid. p. 194. 
 
 10 Priene. pp. 421 f.. No. 58. 
 
 11 Alexand. Toreutik, p. 433. 
 
JAN., 1912. ANTIQUITIES FROM BOSCOREALE. 195 
 
 shape, but without the ornamentation, are found in Egyptian green- 
 glazed ware of the Ptolemaic period. 
 
 It is uncertain for what use these large pitchers were intended. 
 Pasqui 1 calls them "vast da mescere"; Pernice 2 thinks they may have 
 served to hold water. It is evident from theif shape and size that 
 they were designed to hold a considerable quantity of a liquid, which 
 did not need to be poured in a small stream. That this liquid was 
 water to drink or, more likely, to mix with the wine, or even a reserve 
 supply of wine, is not improbable. 
 
 Total height, m. 0.316 ( = 12.44 in-)- Height of vase without handle, m. 0.289 
 ( = 11. 37 in.). Height of base, m. 0.007. Diameter, m. 0.192 ( = 7.55 in.). Diameter 
 of bottom, m. 0.098 (=3.85 in.). Diameter of top, outside, m. 0.13 ( = 5.11 in.); 
 inside, m. 0.093 ( = 3-66 in.). Thickness of sides, less than m. o.ooi. Height of 
 handle, m. 0.201 ( = 7.91 in.). Width of lower attachment, m. 0.06 ( = 2.36 in.). 
 
 Bottom cracked nearly all the way around. The handle seems to have become 
 detached and to have been replaced. 
 
 BRONZE PITCHER OR EWER. 24403. 
 [PLATES CXLVIII, CXLIX.] 
 
 Large bronze vessel with one handle found in Villa I, in the room 
 of the wine-press (P), where it lay in a heap of other vases of various 
 kinds. 3 It is in poor condition, being much broken, patched and 
 cracked. The vase is corroded through as well as heavily oxidized 
 in green and dark blue. The handle was cast separately. 
 
 The lower part of the vase is rounded. It has a long conical shoulder 
 and a short round mouth-piece, which has the form of a section of an 
 inverted cone. The bottom is flat, the lip, narrow. The body of 
 the vase is unornamented except for a series of grooves and raised 
 lines on the inside of the mouth. 4 
 
 The upper attachment of the handle is formed of large birds' heads, 
 which are joined to the outer edge of the lip, and, with the beaks, 
 extend about half way around the lip. The mouth is indicated by 
 a groove, the plumage by wavy lines. Eyes and ears were inlaid 
 with silver which has now mostly disappeared. There are no volutes 
 preceding the birds' heads. Instead of the thumb-rest, which, on 
 vases like the preceding (24409), is sometimes the figure of an actual 
 thumb, there is here a conventionalized long straight thumb, which 
 rises between the birds' heads, and projects horizontally part way 
 across the mouth of the vase. The thumb-nail is of silver. 
 
 L. c. 
 
 1 L. c. p. 195. 
 * Pasqui, op. cit. col. 482. 
 
 /. e. just inside lip, depression, in which, fine raised line, followed by convex surface, after which 
 raised line with groove at either side, all of which encircle the mouth. 
 
196 FIELD MUSEUM OF NATURAL HISTORY ANTH., VOL. VII. 
 
 The lower attachment looks like an inverted pear supported by 
 a diamond-shaped body with two arms which have the form of birds' 
 heads. 1 The lower end of the pear-shaped plaque is engraved 2 so as 
 to represent a conventional lotus, which has a cross-band beneath 
 the flower, inlaid in silver. The plaque is ornamented with oblique 
 striations about the edge, while in the center there is a silver wreath 
 of leaves and flowers tied with a ribbon, treated in the impressionistic 
 manner. The birds' heads have the eyes and ears of silver. On the 
 body from which these heads spring there is an engraved palmette- 
 like ornament similar in appearance to that which springs from the 
 center of the lotus flower above. At the side-angles, however, there 
 is something like an eye indicated in the engraving. Now, if we view 
 the attachment from the other direction, this body and the birds' 
 heads become the head and legs of a lizard or salamander, particularly 
 the variety of the latter called newt. It seems not unlikely that there 
 is here an intentional mixture of motives @ 
 
 The use of the birds' heads to support the attachment-plaque is 
 regular in this type of vases. 4 The ornament appears in a reduced 
 form in a specimen from Boscoreale, now in Berlin. 5 A leaf is used 
 for the attachment in another example from Boscoreale. 6 
 
 On the back of the handle there is an ornament in relief consisting 
 of a vertical stalk with ribs at either side projecting upward obliquely. 
 This design appears to be regular here in this type of vase. 7 At the 
 lower end, next to the lower attachment, there is a band with vertical 
 flutes and a ruffle at either edge. The effect is like that of a strip 
 of cloth or paper tied to the stem. There is a somewhat similar transi- 
 tion motive on the above mentioned fantastic bronze handle in the 
 Naples Museum.^ 
 
 The purpose which these vessels served is not quite certain. From 
 the finding place of this example, and from the fact that another one 9 
 was found in a bedroom it might be inferred that they were intended 
 to hold wine or, more likely, the water that was to be mixed with it. 
 The use of the long projecting thumb might afford a clue, if it were 
 
 1 An old motive in a new form. Cf. an Italic bronze handle in the British Museum, Hoernes, 
 Urgeschichte der Kunat in Europa, p. 416, pla.te ix. No. 2. and a gold ornament in the Treasure from 
 Aegina, Evans, Journal of Hellenic Studies, xiii, pp. 197 ff., fig. 2a (p. 197). 
 
 2 In the model before casting. 
 
 a For an example of fanciful mixture of motives, cf. the bronze handle, Roux,o. cil. Vol. vii, plate 
 98 ( = Museo Borbonico, Vol. ix, plate 30). 
 
 Cf. Schreiber, Alexand. Toreulik, p. 369, and the example in Field Museum, No. 158 of Tarbell's 
 Catalogue of Bronzes. 
 
 1 Pernice, Jahrbuch xv. Am. p. 189, fig. 16. 
 
 Pasqui, op. cil. col. 432, fig. 24. 
 
 7 Cf. Schreiber, Alexand. Toreulik. p. 369. 
 
 Roux, op. cil. Vol. vii, plate 98 ( = Mus. Bor. ix. 30). 
 
 Pasqui, op. cil. col. 432, fig. 24. 
 
JAN., 1912. ANTIQUITIES FROM BOSCOREALE. 197 
 
 itself more certainly understood. Pernice thinks 1 that a dipper was 
 suspended from the thumb. In this piece, however, the thumb is 
 not well adapted for that purpose, being slightly rounded on top; 
 in others it is, according to Schreiber, 2 bent sharply inward. It seems 
 more likely, inasmuch as the vase when full must have been heavy, 
 that the handle is intended for two hands: while one hand held the 
 upright part, the other grasped the thumb in order the better to man- 
 age the flow of the stream. 
 
 Height (extreme), m. 0.327 ( = 12.87 m -)- Height of vase without handle, m. 
 0.306 ( = 12.04 in.). Diameter, m. 0.317 ( = 12.47 in.); of bottom, m. 0.168 ( = 6.61 
 in.); of neck, m. 0.134X0.145 (axis of handle); of top (outside), average, m. 0.187 
 ( = 7.36 in.); of orifice, m. 0.122X0.135 (axis of handle). Thickness of sides, about 
 m. o.ooi +. Thickness of lip. m. 0.0040.005, except in one or two patches (0.0025 
 0.004), which are from another vase. Height of handle, m. 0.266 ( = 10.47 in.). 
 Width of lower attachment (pear-shaped plaque), m. 0.076. 
 
 Stem of handle cracked through at commencement of upper part. 
 
 SILVER PITCHER. 24668. [PLATES CL-CLIII.] 
 
 This pitcher or jar of silver, as well as the terra-cotta bowls (Nos. 
 24669, 24670) and three of the frescoes (Nos. 24671, 24672, 24673), - 
 was found in a villa not far away from Villa I. 3 
 
 It is poorly preserved. The mouth is put together from four 
 pieces, one of which seems to be from another vase, the body from 
 five or more. The sides are corroded through in at least three places, 
 and all the fragments are oxidized throughout. The vase is cast, 
 the handle separately. 
 
 The body of the vase, which is nearly globular and is ornamented 
 with shallow wavy grooves 4 running up and down, rests upon a low 
 base-ring. The bottom is flat, but there is in the center a slight cir- 
 cular depression, which is itself slightly indented in the middle. There 
 is a short neck, which is not sharply defined, and a flaring lip. On 
 the inner edge of the lip there appears to be an encircling bead-orna- 
 ment; on the outer edge there is a leaf -pattern, and between the two 
 there are two fine raised encircling lines. The outer under side of the 
 lip is also ornamented, but here there are slight differences in the 
 pieces of which the lip is at present composed. 5 
 
 1 Jahrbuch. xv, Am. p. 189. 
 
 1 Alexand. Toreutik, p. 369. 
 
 1 This group of objects entered the Museum in October, 1903. 
 
 As in the silver pitcher, Schreiber, Alexand. Toreutik, p. 333, No. 49, which would seem to be 
 similar in shape. Cf. ibid. pp. 453 f., n. 75. and the inside of the Ara Pacis. A silver rhyton from Tuch- 
 el-Karamus, Egypt, belonging to. the Ptolemaic period, has straight horizontal grooves. Jahrb. xxi, 
 Anz. p. 138, fig. 8. 
 
 4 /. e. i. oblique wavy hatching. 3. narrow leaf-pattern with band of dots beneath. 3. uncertain. 
 4. (handle-piece) covered with mending material. 
 
198 FIELD MUSEUM OF NATURAL HISTORY ANTH., VOL. VII. 
 
 The handle terminates above in a conventionalized lotus, of which 
 the side-petals have the form of volutes, while the middle petal is a 
 thick recurved leaf which serves as a thumb-rest. The upper side 
 of the volutes is ornamented with a rosette consisting of a large central 
 7. /'/, 2$ dot surrounded by eight smaller dotsP The spaces between volutes 
 and lip are filled in by means of a bird's head with long beak. At 
 the base of the lotus there is a single horizontal row of beading, which 
 serves to separate the upper part of the handle from the ornaments 
 on the back. 
 
 The lower attachment of the handle is a plaque of ovate outline, 
 ornamented with a relief-mask of Medusa. Her features are coldly 
 beautiful, with large staring eyes. The iris is indicated by an engraved 
 circle, the pupil by a tiny indentation. From the crown of the head 
 rise wings, while beneath them long snaky tresses extend to both 
 sides. A portion of heavy serpent body is conspicuous above the 
 forehead at either side, an exaggeration of an effect which may be 
 seen already in the Medusa Rondanini. 2 
 
 The back of the handle appears to part just above the top of the 
 plaque to form the spreading side-petals of a lotus flower. The space 
 between the petals is filled with an elongated heart-shaped ornament, 
 for which there is an analogy on an Attic grave stele published by 
 Conze, 3 and on the early Ionic capital from Neandria. 4 
 
 The principal decoration of the back of the handle is in the upper 
 part just beneath the transverse band. Here there is a narrow ledge 
 on which stands, at the left, a round altar with flame, 5 and near by, 
 at the right, an object which has fluted sides and conical top, and is 
 represented as about a third again as high as the altar. Like the 
 altar, it has a molded base and cornice. The oxidation which covers 
 the roof is perforated so that the latter resembles a pyramid of balls. 
 On the whole the object looks rather like a building as, for example, 
 a small round temple or shrine, but the lack of door or window is a 
 difficulty. On the handle of a pitcher from Bazzano there is a small 
 shrine with similar roof. 6 
 
 In the free space between the above mentioned ledge and the 
 top of the lower attachment there is a thyrsus with a large ribbon 
 IJ IC tied to the shaft. 
 
 1 Cf. silver Centaur vase from Pompeii, Zahn, Die srhoensten Ornamente, etc.. Vol. iii, plate 28. 
 
 1 Friederichs- Welters, Cipsabgusse antiker Bildwerke, No. IS97- Cf. Roscher, Lexikon d. Myth. 
 I, 2, p. 1723. For a closer analogy cf. Reinach. Ant. du Bosph. cimmerien, plate 75, No. 7 (terra-cotta 
 mask). 
 
 Die aliischen Crabreliefs, Vol. i. No. 453, plate 107. 
 
 * Perrot and Chipiez, Histoire de I' art. Vol. vii, p. 621, fig. 275. 
 
 * Cf. Schreiber, Alexand. Toreutik, p. 321, No. 13, 0). 
 
 1 "Aedicula mit kuppelartigem Dach," Schreiber, Alexand. Tortutik, p. 356, No. 105, a; cf. p. 453. 
 
 1 Cf. the thyrsus on a silver cup from Hildesheim, Pernice and Winter, Hildesheimer Silberfund. 
 plate 14, No. i, and on the handle of a silver casserole, Schreiber, Alexand. Toreutik, .p. 315, No. 
 i , ft) . A thyrsus represented in a mosaic of the Casa del Fauna, Pompeii, has a green shaft with red rib- 
 bon, and a yellow cone with green leaves (Nicolini, Case e Monumenti, Vol. i). 
 
JAN., 1912. ANTIQUITIES FROM BOSCOREALE. 199 
 
 Height (extreme), m. 0.134 (=5.27 in.). Height of vase without handle, m. 
 o.i 22 ( = 4.8 in.). Diameter, m. 0.129 ( 5-7 in-)- Diameter of bottom, m. 0.077 
 (=3.03 in.). Width of depression on under side of bottom, m. 0.019. Diameter of 
 top (outside), m. 0.096 ( = 3.77 in.); inside, m. 0.08 (=3.14 in.). Diameter of neck 
 (outside), m. 0.081 Xo.O77. Thickness of walls, uncertain, perhaps m. 0.002 0.003. 
 Height of handle, 0.094 (=*3-7 m -)- Lower attachment, m. 0.047 (height) Xo.036 
 (width). 
 
GLASS 
 
 GLASS PITCHER. 24582. [PLATE CLIV.] 
 
 Small pitcher of thin, pale yellow glass, found in Villa I, in o,ne 
 of the rooms supposed to have been occupied by the servants. 1 
 
 It is in good condition except for a hole 2 obliquely beneath the 
 handle. One side of the mouth is bent in. 
 
 The body, which is nearly globular in form, rests upon a plain 
 slightly concave bottom without base-ring, and, on the upper side, 
 passes easily into the rather long round neck, which is straight to 
 near the top, where it becomes flaring. The mouth is trefoil with 
 molded lip, which is rolled inward at the upper edge. 
 
 The handle is flat, with a shallow vertical groove on the inside 
 and a deep groove on the outside. It was made separately, and, 
 when in a soft state, bent into a fold at the top to form a thumb-rest. 
 A long narrow string of glass, remaining after the attachment with 
 the top, was turned back over the thumb-rest, which is thus, in part, 
 of four thicknesses, and down the back of the handle near to its lower 
 end. 
 
 Though the chief center of the glass industry throughout antiquity 
 was Egypt, from which country it was, before the end of the Roman 
 republic, imported in large quantities into Italy, 3 there were also 
 factories in Italy, particularly in Campania, where the sands between 
 Cumae and Liternum were found to be useful in the production of 
 clear, transparent glass, 4 and by the first century A. D. it had come 
 into common domestic use and had become very cheap. 5 Of such 
 household ware this pitcher is a specimen. 
 
 It is not certain just what purpose such pitchers served, but at the 
 present time small glass pitchers of similar shape are in common use 
 in Italy as containers of oil or vinegar for the table. 
 
 Height, m. 0.135 ( 5-3 1 in-)- Height of body, m. 0.125 ( = 4-9 2 in-)- Diameter, 
 m. 0.089 ( =3.5 in.). Diameter of bottom, about m. 0.037 ( = 1.45 in.). Diameter of 
 neck (smallest), m. 0.0315 ( = 1.24 in.). Height of handle, m. 0.074 ( 2 -9 I m -)- 
 Width of handle (least), m. o.on (=0.43 in.). Thickness of glass, about % mm. 
 below break, and about YT, mm. above (estimated). 
 
 1 Pasqui, M. A. L. vii, col. 496: "presso 1'angolo a sinistra della pariete di fondo a pie del letto 
 posava un oinochoe di vetro chiaro con corpo a bulla e collo cilindrico" (fig. 67). 
 
 * M. 0.037X0.018. Piece lost. 
 Cf. Cicero, pro Rab. Post. 14. 
 
 Pliny, Hist. Nat. xxxvi. 26 (66). Deville, Hist, de I'art de la verrerie dans I'antiquiti, p. 18. 
 
 Strabo, xvi, p. 758. 
 
 200 
 
JAN., 1912. ANTIQUITIES FROM BOSCOREALE. 201 
 
 BLUE GLASS PITCHER. 24581. [PLATE CLV.] 
 
 This pitcher, which resembles the vases of the form called 'askos,' 
 appears to have been found in Villa I, in a cupboard which was in a 
 room of the second story (Camera d). 1 
 
 The vase is in fairly good condition, but there is a small hole 2 in 
 front, and the iridescent dark blue surface has flaked off in many 
 places, leaving a whitish surface. 3 Vase and handle are cast separate- 
 ly. Owing to the thinness of the glass the vase is extremely light. 
 
 The body, which vaguely recalls the form of some animal, e.g. 
 a duck or a snail, is somewhat convex on the under side, except in front, 
 where there is a shallow concavity, and is high and rounded on top. 
 The wide neck which is almost at right angles to the back, and in 
 front forms with the body a slender S-shaped curve, tapers slightly 
 toward the top, but becomes somewhat flaring near the trefoil mouth. 
 The lip is rounded, with a redundant edge of glass folded down on the 
 inside. 
 
 The handle, though made of a single piece of ductile glass, is folded 
 so as to look like a straight strip fastened to an upright at either end. 
 The long string of glass remaining after the formation of the front of 
 the handle is brought back over the top nearly to the rear end. The 
 portion of the handle which serves as grip has a wide deep groove 
 on the upper side and a small shallow groove underneath. 
 
 A glass pitcher of similar shape, but with base, fluted sides, round , 
 mouth and arched handle, was found at Pompeii. This form is sub- 
 stantially the same as that of a black-figured askos from Licodia Eubea, 6 
 and of a still older vase in black monochrome ware from Sybaris. 6 
 They are perhaps derived from imitations of the shape of a duck. 7 
 Another form with similar body, but with longer neck and straight 
 handle set at a higher angle, is also found in Pompeian glass ware@) ' t *- c - 
 This form with long neck is also of frequent occurrence in bronzes 
 from Roman sites, particularly in pitchers with high curved handles, 
 
 1 Pasqui. M. A. L. vii, col. 516: "quindi nell'fondo dell' armadioera posato un vasodi vetro tur- 
 chino. in forma di askos con bocca rotonda e con ansa ad arco. che lo attraversava superiormente in 
 tutta la sua luntjhezza." Unless a different vase is here referred to, the description of mouth and 
 handle is not quite accurate. 
 
 * M. 0.015X0.01^. The piece is missing. The adjoining piece (m. 0.011X0.014). which is also 
 broken out, is now inside the vase. 
 
 1 It is perhaps more accurate to say that a portion of surface becomes white and then flakes off. 
 leaving the blue underneath exposed, whereupon the same process is repeated. This gradual dis- 
 integration is constantly going on. 
 
 4 Nicolini. Case e Monumrnti. I. Casa di A/. Lucrrzio, p. 21, plate I. No. 15. 
 
 1 Roem. Milleil. xiii. p. 331, fig. 41. 
 
 1 Mayer, Jahrb. xxii (1907). p. 207, fig. 2. 
 
 T Mayer, /. c. p. 209. 
 
 Nicolini, op. cit. II. Descritione Gcnerale, plate 43; L'Arte in Pompti. plate 26 (blue glass). 
 
202 FIELD MUSEUM OF NATURAL HISTORY ANTH., VOL. VII. 
 
 thumb-rest and ornamentation of Roman-Hellenistic style. 1 It is 
 probably derived from the wine-skin, 2 which it strikingly resembles > 
 The purpose which these vases served is not certain, but that the 
 bronze vases above mentioned were used as wine-pitchers is a probable 
 conjecture. 4 
 
 Height, m. 0.113 ( == 4-44 m -)- Length, m. 0.146 (5.74 in.). Width, m. 0.105 
 (=4.13 in.). Mouth, m. 0.043 (width) Xo.O475. Length of handle (extreme), 
 m. 0.082; over top, m. 0.069. Width of handle (least), m. 0.0095. Thickness of 
 glass at break, less than % mm. (estimated). 
 
 1 Examples among the reproductions in Field Museum, Nos. 24044, 24048, 24054, 24056, 24060. 
 Cf. Roux, op. cit. Vol. vii, plate 76. 
 
 8 Pernice, Jahrb. xv, Anz. p. 185. 
 
 ' Cf. the specimen with bronze statuette of Silenus, Roux, op. cit. Vol. vi, plate 65. 
 
 4 Pernice, /. c. Cf. also Mayer (I. c. p. 209), who thinks that the early askoi were attached to a cord 
 and used to draw water. 
 
TERRA-COTTA. 
 
 BOWL OF TERRA SIGILLATA. 24669. [PLATES CLVI-CLVIII.] 
 
 This bowl of red terra-cotta and the similar bowl, No. 24670, were 
 found in the villa from which came the silver pitcher, No. 24668, and 
 the frescoes, Nos. 24671-24673. 
 
 Except for a few places where the glaze has been slightly abraded, 
 it is in perfect condition and as though new. 
 
 The bowl, which rests on a small low base-ring, is shaped something 
 like a shallow calyx with convex bottom, straight sides sloping slightly 
 outward to within a short distance of the top, where they become 
 sharply convex. 
 
 From the concentric rings of the bottom to the triple band of 
 hatching at the top, almost the entire surface is covered with decoration 
 arranged in bands or zones, the widest of which covers the convexity 
 of the bottom, while the next in width is on the side. The lower zone 
 consists of eight panels, in which four subjects are treated, two identical 
 panels placed on opposite sides of the vase being given to each. They 
 are separated by straight twisted stalks, which terminate in rosettes. 
 In four of the panels there are medallions, which are ornamented with 
 reliefs representing a winged Cupid. There are two types, one a nude 
 figure moving to right, though the head is in full face, with right arm 
 outstretched, the other with scarf over left shoulder, moving to left, 
 and holding some indistinct object in his outstretched arm. In the 
 corners outside the medallions there is a U-shaped stem ending in a 
 leaf. Two panels, slightly shorter than those with the medallions, 
 are divided by a horizontal zigzag line terminating in rosettes into 
 two unequal portions. In the narrower upper part a running dog and 
 a crouching hare face a tree or shrub. The center of the lower part 
 is occupied by three rows of slightly overlapping arrow-points 1 ar- 
 ranged in the form of a truncated cone, which might be completed, 
 if the shrub of the upper portion should be added. The corners which 
 remain at the ends are filled with parallel zigzag lines. The two re- 
 maining panels, which are slightly smaller than the others, are occu- 
 pied each by a bunch of flower-stalks fastened together at the center 
 and arranged so as to fill four triangles, which are formed by diagonal 
 zigzag lines. 
 
 1 So Dchelette. La ctramigue de la Gaule romaine. Vol. i. p. 70 ("pointes de fleches imbriques"). 
 They look rather like leaves or small shrubs. 
 
 203 
 
204 FIELD MUSEUM OF NATURAL HISTORY ANTH., VOL. VII. 
 
 The upper of the two principal zones is decorated with a conven- 
 tionalized vegetable spray, from either side of which spring spirals 
 terminating within in a four-leaved rosette. The field between the 
 spirals contains alternately a similar rosette and a branch, which also 
 springs from the main stem and bears at the end two knobs repre- 
 senting berries or fruit. 
 
 A little to the right of the center of the portion of the zone shown in the photo- 
 graph (Plate CLVII) two of the upper scrolls are separated by a sharp angle rather 
 than by the usual broad curve above the lower scroll. This somewhat awkward 
 arrangement was necessitated by the fact that the circumference contained the 
 design a fraction more than a whole number of times. 
 
 Excepting the rosettes, which are made with a punch, this band, as is evident 
 from slight inequalities, is traced by hand. Cf De"chelette, op. cit. Vol. i, p. 70. 
 
 Between these zones there is a plain convex molding with a row 
 of beading at either side. Above them there is a narrow angular 
 molding, which is ornamented on each surface with oblique hatching. 
 The wider convex part of the bowl which follows is also covered with 
 similar hatching. The rounded lip is undecorated. 
 
 On the inside, just beneath the lip, there is a convex surface corre- 
 sponding to the hatched convex band on the outside. In the center of 
 the bottom there is the impression of a stamp, consisting of a small in- 
 dented circle, within which in raised letters is the name of the maker 
 VITAL/IS. The stamp is encircled by a broad band consisting of 
 minute indentations, which appear to have been caused by roughness 
 of the surface on which the bowl was supported during the process of 
 firing. Beyond there are three pairs of fine encircling grooves im- 
 perfectly executed. 
 
 Though the name of the potter Vitalis has been found on other 
 vases of Italian provenance, it has been shown by the excavations 
 and researches of comparatively recent years that the place of fabri- 
 cation of his wares was in the south of France, at Graufenesque (Dept. 
 of Aveyron), the ancient Condatomagus. From the extensive re- 
 mains of potteries which have been found there it is evident that 
 the industry was most flourishing in the first century A. D., and from 
 the considerable number of Gallic stamps found in Italy it is plain 
 that this ware was then competing for the Italian market. 
 
 In Italy the red-glaze molded vases had been manufactured for 
 over two centuries, particularly at Arretium (the modern Arezzo) 
 whence the name 'Arretine,' which has been applied to all similar fab- 
 rics, though now it is usual to limit its use to the vases of Arretium, 
 while the ware in general is called terra sigillata. 
 
 The vases of Italian fabric differed from the Gallo-Roman chiefly 
 in that the color was a less deep red and that there was a preference 
 
JAN., 1912. ANTIQUITIES FROM BOSCOREALE. 205 
 
 for figures, whereas other forms of decoration were preferred north 
 of the Alps. 1 
 
 Where the ware was first made has not yet been definitely de- 
 termined, but the chief centers of production before the establish- 
 ment of the potteries at Arezzo were in Asia Minor and southern 
 Russia. 2 
 
 Height, m. 0.085 (=3-34 in-)- Diameter, m. 0.199 ( = 7.83 in.). Thickness at 
 top, m. 0.005 ( == - I 9 in-)- Height of base, m. 0.005. Diameter of base, m. 0.06. 
 Diameter of stamp, m. 0.02. 
 
 Form. Substantially the same with Dragendorff, Banner Jahrb. nos. 96/97, 
 Plate II, No. 29. 
 
 Inscription. Copy and photograph (Plate CLVIII). Length, m. 0.019. Height 
 of letters (average), about m. 0.003. 1 an oblong shallow impression the ends of 
 which are formed by the depressed encircling ring of the stamp. Height of impres- 
 sion, m. 0.004. The letters are in relief. 
 
 Upper part of space between first and second letters, not 
 
 \ J5Wt*A. I1C impressed,. hence only lower part and right side of I is distinct. 
 ^* * />* ^ f has left side of cross-bar flattened. A has no cross-bar. 
 Last four letters, plainer than the others. There is a tendency 
 to emphasize the ends of the letters. 
 
 C. L L. XV. 57653, XIII, iii. I. 10010, 2062. De"chelette, op. cit. Vol. I, pp. 57, 
 no; Dragendorff, Banner Jahrb., No. 99, pp. 161 ff.; Lehner, Die Einzelfunde von 
 Novaesium, ibid. nos. 111/112, p. 347. 
 
 BOWL OF TERRA SIGILLATA. 24670. [PLATES CLIX-CLXI]. 
 
 Bowl of red terra-cotta from the same villa as the preceding vase, 
 No. 24669. 
 
 It is in perfect condition and as though new. 
 
 This bowl, though larger than the other, resembles it closely in 
 shape, and is generally similar in decoration. It has a larger base- 
 ring, the concentric rings on the bottom are somewhat different, and 
 the lower of the two wide ornamental zones is narrower. 
 
 This same zone is divided into fourteen panels, of which seven 
 are wider than the others, arranged alternately. The narrower panels 
 are enclosed between two upright twisted stalks, at the lower end of 
 which there is a rosette from which a volute projects into the adjoin- 
 ing panel. The interior is divided by twisted diagonal stalks into 
 four triangles, which are occupied by the ends of a bundle of twisted 
 stalks held together at the center. The motive is like that seen in 
 the corresponding zone of the other bowl (No. 24669), but is simpler. 
 The decoration of the wide panels consists of a segment of a circle 
 
 1 Cf. Dechelette, op. cit. Vol. i. p. 66. 
 
 2 Dragendorff. Die Reste d. terra sigillata Industrie in Griechenland, Kleinasien. Siidrussland M. 
 Aegypten, Banner Jahrb. No. 101, pp. 140 ff. 
 
2o6 FIELD MUSEUM or NATURAL HISTORY ANTH., VOL. VII. 
 
 opening upward. Its lower border is formed of a row of arrow-heads, 
 while the interior is filled with a branch which begins as a plain stem 
 in the upper right corner, but soon parts into four branches, of which 
 the outer two terminate in a flower, the others in a leaf and some kind 
 of fruit. From the fact that the decoration of the side panels is not 
 always at quite the same distance from the smaller panels, it is prob- 
 able that the pattern was impressed with stamps rather than with a 
 roller. The lower edge of the design is marked by a narrow plain 
 band imperfectly carried out. On the upper side there is a row of 
 beading, which serves as a border. 
 
 The somewhat narrower zone which encircles the side consists 
 of alternating short and long panels. In each of the former there 
 is a many -leaved rosette; in the latter, two oblong conventionalized 
 lotus flowers placed horizontally end to end with a ragged palmette 
 at either side of the connecting stem. 1 The zone is bordered above 
 and below by single rows of beading. 
 
 Between the wide ornamented zones there is a narrow plain convex 
 band. Above the upper zone there are three bands, the first of which 
 is narrow and flat, the second broad and convex, the third, which is 
 just at the beginning of the lip, depressed and very narrow. All 
 are ornamented with slightly oblique fine lines. 
 
 In the interior there is, near the top, a narrow raised ring and, 
 beneath it, a convex surface. Otherwise the inside is plain except 
 for the stamp, which consists of a rather large impressed ring occu- 
 pying the middle of the bottom and containing, about in the center, 
 an inscription in very small letters. The first few letters are obscure, 
 owing to the fact that this part of the inscription was impressed twice. 
 It seems to read OF^VRII, of(ficina)'EE.urii, 'Establishment of 
 urius'. 
 
 The partial illegibility of the inscription makes the attribution 
 of the vase uncertain. However, the shape, the glaze and the system 
 of decoration render extremely probable the supposition that it also 
 is an example of the ware of Graufenesque, 2 although the final letters 
 VRII do not occur in the lists of Dragendorff 3 and Dechelette. 4 
 
 As compared with the vase of Vitalis the details of ornament are 
 somewhat less neatly executed. 
 
 Height, m. 0.095 ( = 3-74 m -)- Diameter, m. 0.215 ( = 8.46 in.). Thickness at 
 lip, m. 0.004 ( =O -15 i n -)- Height of base, m. 0.008. Diameter of base, m. 0.075. 
 Diameter of circle of stamp, m. 0.035. 
 
 1 Owing to lack of space one panel contains only a single lotus, but has two double palmettes with 
 a rosette between them. 
 
 2 Cf. on No. 24669. 
 
 * Banner Jahrb. nos. 96/97, 99. 
 Op. cil. 
 
JAN., 1912. ANTIQUITIES FROM BOSCOREALE. 207 
 
 Form. Substantially the same with Dragendorff, Banner Jahrb, nos. 96/97, 
 Plate II, No. 29. 
 
 Inscription. Copy and photographic enlargement (Plate CLXI). Length, 
 m. 0.014. Height of letters, about m. 0.002. In a deep oblong impression, the 
 length of which is m. 0.0175, the width, m. 0.003. The second impression of the 
 first part was a little above and to the left of the first impression. The lower part of 
 the second impression is deep, but the surface rises gradually toward the top and 
 toward the right. The letters are in relief. 
 
 The first letter is fairly clear in the second impression, and 
 *^e lower part is also visible in the first impression. Next at 
 the right an upright hasta I is clear. The side bars which make 
 it an F are but faintly visible. The last four letters VRII are 
 plain. Between F and V there are faint or doubtful traces of one or two letters. 
 A partial line close to the left hasta of V, and parallel to it, seems to be joined near 
 the top by a downward stroke to left. The A( = A), which would thus be formed, is, 
 however, very doubtful, as the left hasta, when magnified, does not look like an 
 intentional line. It seems more likely that the right hasta is a second impression 
 of the left side of V. Close to the F, on the right, there is a very faint S, which seems 
 to be a letter, especially as there is a scarcely visible parallel to it at its right, which 
 would be the first impression. The inscription would then read (i) OFSAVRII, or, 
 if the S be illusory, (2) OF A VRII (cf. ARII C. I. L. XIII, iii. i. 10009, No. 41 a z 
 from Graufenesqtte, Dchelette, op. cit. Vol. I, p. 82, or (3) OFSVRII (cf. C. I. L. 
 XIII, iii. i. 10010, No. 3053, OF.SVRII, from Tongern). The last is preferable, but 
 it seems somewhat strange that the S should be crowded so far to the left. 
 
STONE 
 
 HAND-MILL. 31726, 1, 2. [PLATE CLXIL] 
 
 Small stone mill found in Villa I. 1 
 
 The mill is well preserved except that the handle is broken out 
 and the cross-bar of the upper part defective, these parts being of 
 iron. The stone is a gray lava, probably from Mount Vesuvius. 2 
 
 In the construction two pieces of this material, forming the upper 
 and lower mill-stones, were employed. The lower stone, which is 
 somewhat wider than the other, has on its upper side the form of a 
 low cone, in the top of which there is a shallow depression 3 where the 
 standard which supported the upper stone turned to and fro. The 
 upper stone, which has a round hole in the center, is concave on both 
 sides. The lower concavity, which extends quite to the edge, fits 
 over the conical top of the lower stone, and forms with it the grind- 
 ing surfaces; the upper concavity serves as a hopper. The hole in 
 the middle was crossed by an iron bar, the center of which, now miss- 
 ing, must have held the shaft that played in the above mentioned 
 depression. The manipulation of the mill was facilitated by means 
 of a handle which was inserted into a rectangular hole in the side 
 of the upper stone. The substances ground fell out over the sides 
 of the lower stone. 
 
 This is the ordinary Roman hand-mill, examples of which occur 
 as early as the middle of the second century B.C. 4 It is an improve- 
 ment of a type still found in the Levant, consisting of two flat stones 
 of which the upper has a hole in the center, and is provided with a 
 handle at the side. 5 
 
 Height, m. 0.09 (lower part)+o.i35 (upper part) =0.225 ( = 8.85 in.). Diameter 
 of bottom, about m. 0.38 ( = 14.96 in.). Diameter of top. m. 0.34 ( = 13.38 in.). 
 Diameter of hole in center of upper stone, m. 0.095. Height of edges of same hole, 
 m. 0.025. Iron bar which crossed it, m. 0.027X0.015; length of stub remaining, 
 m. 0.03. Hole for handle, m. 0.068X0.045. 
 
 Lead was employed to hold the inserted iron parts in place. 
 
 1 A similar, but not identical mill was found in Room X. Pasqui, /. c. col. 491, col. 535, No. 139. 
 * Cf. Pasqui, I. c. and Mau, Roern. Mitteil. IV (1889), p. 296. 
 1 Diameter, m. 0.06. 
 
 4 Two specimens from the Roman camp before Numantia, Schulten, Jahrb. xxii. Am. p. 477. 
 
 5 Bluemner, Tech. u. Term. Vol. i, p. 26, quoting Tournefort, Voyage du Levant, i, p. 402. 
 
 208 
 
JAN., 1912. ANTIQUITIES FROM BOSCOREALE. 209 
 
 MILL. 31699, 1, 2. [PLATE CLXIL] 
 
 Found in Villa I, in the excavations of 1898.* 
 
 It is well preserved, except that such portions as were of wood or 
 iron are missing. There was also a basis of masonry, which is not now 
 with the mill. The stone is a gray lava. 
 
 As at present installed, the mill consists of three pieces, two of 
 which are of stone, the third of lead, but it is necessary to supply 
 in imagination the missing parts, in order that the manner of operation 
 may be intelligible. The lower stone, called from its resemblance 
 to the conical tops of the goals in the race-course, the meta, was sunk 
 to the height indicated by the discoloration, in the solid basis above 
 mentioned. The top has the form of a cone truncated near the apex. 
 Here there is a vertical hole with rectangular sides, in which an up- 
 right post was formerly inserted. About the edges of the opening, 
 on top of the meta, there is lead, which was run for the purpose of 
 holding the post in position. The upper stone, somewhat like an hour- 
 glass in shape, is hollowed out within in a manner corresponding to 
 its exterior form. The interior of the lower half forms the upper 
 grinding surface, the upper part served as a hopper whence the name 
 catillus, applied to the entire stone. On the outside, where the diam- 
 eter is smallest, there are/ on opposite sides, rectangular projections 
 or shoulders, with a rectangular hole in the face, and a round hole 
 extending horizontally through both sides. The former hole received 
 the stout wooden bars, by means of which the stone was turned, 
 while the round hole, held the pin, which passed through and fastened 
 the end of the bar. A raised band about the center suggests that 
 the two parts of the catillus may at some time have been separate pieces. 
 
 As the heavy upper stone would have been turned with difficulty, 
 had it rested directly on the meta, the operation was effected by means 
 of a frame, which held it suspended from a vertical pin fastened into 
 the top of the upright post above mentioned. In a relief in the Vati- 
 can 2 this frame is represented as consisting of a thick rectangular 
 wooden bar, extending across the top of the catillus, and attached to 
 the handles by means of curved pieces of similar material and size 
 extending down the sides. 3 In the mill in Field Museum, however, 
 the cross-bar at the top and the side-pieces would seem to have been 
 made of iron, probably a single piece, as the sockets in the edges above 
 the shoulders are too small to hold a wooden frame of sufficient strength. 
 
 1 Notizie degli Scavi, 1899, p. 16. 
 
 1 Cited by Bluemner, Tech. u. Term. I. p. 44 and Mau-Kelsey, Pompeii (ad ed.), p. 390, fig. 222. 
 
 8 Cf. restored section, Mau-Kelsey, op. cil. p. 389, fig. 221. 
 
210 FIELD MUSEUM OF NATURAL HISTORY ANTH., VOL. VII. 
 
 Of course the iron cross-bar will have had a hole in the center, cor- 
 responding to the pin in the top of the upright, about which the en- 
 tire catillus revolved. 
 
 On the side of the upper stone, beneath one of the shoulders, are 
 the letters PM., that is PMA, perhaps the mark of the maker. 
 
 The third piece of the mill, the large leaden ring in the bottom 
 of the case, served to catch the flour as it fell from between the stones, 
 and stood originally at the level indicated by the change in the color 
 of the lower stone, forming the top of the basis of masonry, in which 
 that stone was imbedded. 
 
 The mills of this form are very plentiful in Pompeii, 1 and prob- 
 ably represent the ordinary Roman type. 
 
 The motive power was supplied by slaves or by quadrupeds. Mills 
 in which the shaft of the catillus was connected with water power 
 are also known to have been in use among the Romans. 2 
 
 Height, m. 1.07 (=42.12 in.). Height of lower stone, about m. 0.74 ( = 29.13 
 in.). Height of upper stone, m. 0.548 ( = 21.57 i n -)- Diameter of top (outside), 
 m. 0.49 ( = 19.29 in. ); (inside), m. 0.423 ( = 16.65 m -)- Rectangular hole in top of 
 lower stone: depth, m. 0.133 ( = 5- 2 5 in-); sides, m. 0.078X0.075. Height of narrow 
 part of interior of catillus, m. 0.13; diameter, about m. 0.095. Rectangular hole in 
 shoulder: depth, m. o.n; height, m. 0.085; width, m. 0.075 ( an d m. o.io, 0.08, 0.073 
 respectively). Round holes, diameter, about m. 0.05. Lead ring: width, m. 0.155 
 ( = 6.10 in.) 0.27 ( = 10.62 in.); thickness, m. 0.0030.005 (estimated). 
 
 There is no indication that the interior of the catillus contained a feed-plate, such 
 as is mentioned by Bluemner, Tech. u. Term. I, p. 27, fig. 4. 
 
 Inscription. See plate CLXII. Cf. C. I. L. X, 8057, 10. Height of letters, 
 m. 0.14. Depth, m. 0.005. They were originally painted red, of which color abundant 
 traces remain. 
 
 1 Mau-Kelsey, op. cit. p. 388. Cf. the illustration, ibid. p. 386, fig. 218; Molesworth, Pompei, p. 75. 
 Vitruvius, x, 5. 
 
IRON. 
 
 These implements come from the villa numbered IV in the list 
 given above on page 154. Of their wooden handles traces remain in 
 several instances. The iron is much rusted and is covered with accre- 
 tions of small pumice-stones. 
 
 Similar implements were found in Villa I. 1 Still others exist in the 
 Museum of Naples. 
 
 THREE HOES. 26150, 26151, 26152. [PLATE CLXIIL] 
 
 The shape is the usual Roman one. 
 
 Length of blade "]% in. Breadth at top T 1 A-T% in. 
 
 HOE. 26153. [PLATE CLXIIL] 
 
 Length of blade 6^4 in. Breadth at top 6 in. 
 
 POINTED HOE. 26154. [PLATE CLXIV.] 
 
 Length of blade 5^ in. Breadth at top 4 in. 
 
 TWO LARGE HOES. 26155. [PLATE CLXV.] 
 
 Rusted together. 
 
 Length of blade of each ca. n in. Breadth at top ca. 14 in. 
 
 MATTOCK. 26156. [PLATE CLXV.] 
 
 One end of the head is shaped like an adze, the other like a hatchet. 
 Outside length 13 in. 
 
 HATCHET. 26157. [PLATE CLXVL] 
 
 The edge is not parallel with the handle, but is inclined towards it. 
 Length 7^ in. 
 
 PICK. 26158. [PLATE CLXVL] 
 Outside length 8 in. 
 
 RAKE. 26159. [PLATE CLXVL] 
 
 There are six prongs. 
 Breadth I2> in. 
 
 1 Monumenti Antichi, 1897, cols. 436-440. 
 
 211 
 
212 FIELD MUSEUM or NATURAL HISTORY ANTH., VOL. VII. 
 
 FORK. 26160. [PLATE CLXVI.] 
 
 There are two broad flat tines. 
 Length 12 in. 
 
 FORK. 26161. [PLATE CLXIV.] 
 
 There are two slender round tines. 
 Length 17^ in. 
 
 BILL. 26162. [PLATE CLXIV.] 
 
 This looks like a pruning instrument. 
 Length 9 in. 
 
 SPUD. 26163. [PLATE CLXIV.] 
 Length 23^ in. Breadth at top 4 in. 
 
 SICKLE. 26164. [PLATE CLXV.] 
 
 There is wood adhering to the inner edge. This may perhaps in- 
 dicate that these tools, or some of them, were kept in a wooden box. 
 Diameter of blade 20 in. 
 
f 
 
 & ''- 
 
 
 ml 
 
 
 ) t " 
 Ml 
 3 j 
 
 ri 
 
 \ 
 O 
 
 
 O 
 
 I 
 
FIELD MUSEUM OF NATURAL HISTORY. ANTHROPOLOGY, VOL. VII, PL. CXIX. 
 
 PLAN OF VILLA RUSTICA AT BOSCOREALE. 
 
 From Mau-Kelsey, Pompeii. 
 
FIELD MUSEUM OF NATURAL HISTORY. ANTHROPOLOGY, VOL. VII, PL. CXX. 
 
 24657 
 
FIELD MUSEUM OF NATURAL HISTORY. 
 
 ANTHROPOLOGY, VOL, VII, PL. CXXI. 
 
 24651 
 
 24656 
 
FIELD MUSEUM OF NATURAL HISTORY. 
 
 ANTHROPOLOGY, VOL. VII, PL. CXXIII. 
 
 24655 
 
 24658 
 
FIELD MUSEUM OF NATURAL HISTORY. 
 
 ANTHROPOLOGY, VOL. VII, PL. CXX'V. 
 
 24649 
 
 24661 
 
FIELD MUSEUM OF NATURAL HISTORY. 
 
 ANTHROPOLOGY, VOL. VII, PL [CXXV. 
 
 24650 
 
 24647 
 
FIELD MUSEUM OF NATURAL HISTORY. ANTHROPOLOGY, VOL, VII, PL. CXXVI. 
 
 24654 
 
FIELD MUSEUM OF NATURAL HISTORY. 
 
 ANTHROPOLOGY, VOL. VII, PL. CXXVIII, 
 
 24672 
 
FIELD MUSEUM OF NATURAL HISTORY. 
 
 ANTHROPOLOGY, VOL, VII, PL. CXXIX. 
 
 24673 
 
FIELD MUSEUM OF NATURAL HISTORY. 
 
 ANTHROPOLOGY, VOL, VII, PL. CXXX. 
 
 MURAL DECORATION FROM THE Casa della seconda Fontana di Musaico, POMPEII. 
 From Zahn, Die schoensten Ornamente, etc. II 95 
 
FIELD MUSEUM OF NATURAL HISTORY. ANTHROPOLOGY, VOL. VII, PL. CXXXI. 
 
 24407 
 
FIELD MUSEUM OF NATURAL HISTORY. ANTHROPOLOGY, VOL. VII, PL. CXXXII. 
 
 24404 
 
FIELD MUSEUM OF NATURAL HISTORY. 
 
 ANTHROPOLOGY, VOL. VII, PL. CXXXIII. 
 
 24404 
 
FIELD MUSEUM OF NATURAL HISTORY. ANTHROPOLOGY, VOL. VII, PL. CXXXVI, 
 
 244IO 
 
FIELD MUSEUM OF NATURAL HISTORY. ANTHROPOLOGY, VOL. VII, PL. CXXXVII. 
 
 244IO 
 
FIELD MUSEUM OF NATURAL HISTORY. 
 
 ANTHROPOLOGY, VOL. VII, PL. CXXXIX. 
 
 24408 
 
FIELD MUSEUM OF NATURAL HISTORY. ANTHROPOLOGY, VOL. VII, PL. CXL. 
 
 24406 
 
FIELD MUSEUM OF NATURAL HISTORY. 
 
 ANTHROPOLOGY. VOL. VII, PL. CXLI. 
 
 24406 
 
FIELD MUSEUM OF NATURAL HISTORY. 
 
 ANTHROPOLOGY, VOL. VII. PL. CXLII. 
 
 24405 
 
FIELD MUSEUM OF NATURAL HISTORY. 
 
 ANTHROPOLOGY, VOL. VII, PL. CXLIII. 
 
 24405 
 
FIELD MUSEUM OF NATURAL HISTORY. ANTHROPOLOGY, VOL. VII, PL. CXLIV. 
 
 24405 
 
FIELD MUSEUM OF NATURAL HISTORY. 
 
 ANTHROPOLOGY, VOL. VII, PL. CXLV, 
 
 24409 
 
FIELD MUSEUM OF NATURAL HISTORY. 
 
 ANTHROPOLOGY, VOL. VII, PL. CXLVI. 
 
 24409 
 
FIELD MUSEUM OF NATURAL HISTORY. ANTHROPOLOGY, VOL. VII, PL. CXLVII. 
 
 24409 
 
FIELD MUSEUM OF NATURAL HISTORY. 
 
 ANTHROPOLOGY, VOL. VII, PL. CXLVIII. 
 
 24403 
 
FIELD MUSEUM OF NATURAL HISTORY. 
 
 ANTHROPOLOGY, VOL. VII, PL. CXLIX. 
 
 24403 
 
FIELD MUSEUM OF NATURAL HISTORY. 
 
 ANTHROPOLOGY, VOL., VII, PL. CL. 
 
 24668 
 
FIELD MUSEUM OF NATURAL HISTORY. 
 
 ANTHROPOLOGY, VOL. VII, PL. CLI. 
 
 24668 
 
FIELD MUSEUM OF NATURAL HISTORY. ANTHROPOLOGY, VOL. VII, PL. CLII. 
 
 24668 
 
FIELD MUSEUM OF NATURAL HISTORY. 
 
 ANTHROPOLOGY, VOL. VII, PL. CLIV. 
 
 24582 
 
FIELD MUSEUM OF NATURAL HISTORY. 
 
 ANTHROPOLOGY, VOL. VII, PL. CLVI. 
 
 24669 
 
FIELD MUSEUM OF NATURAL HISTORY. 
 
 ANTHROPOLOGY, VOL. VII, PL. CLVIII. 
 
 24669 
 
FIELD MUSEUM OF NATURAL HISTORY. 
 
 ANTHROPOLOGY. VOL. VII, PL. CLIX. 
 
 24670 
 
FIELD MUSEUM OF NATURAL HISTORY. 
 
 ANTHROPOLOGY, VOL. VII, PL. CLXI. 
 
 24670 
 
FIELD MUSEUM OF NATURAL HISTORY. 
 
 ANTHROPOLOGY, VOL. VII, PL. CLXIII. 
 
 26150 
 26152 
 
 26151 
 26153 
 
I 
 
FIELD MUSEUM OF NATURAL HISTORY 
 
 ANTHROPOLOGY, VOL. VII, PL. CLXV. 
 
 26155 
 26156 
 26164 
 
FIELD MUSEUM OF NATURAL HISTORY. 
 
 ANTHROPOLOGY, VOL, VII, PL. CLXVI. 
 
 * 
 
 26l60 
 
 26159 
 26158 
 
 26157