Capital from House of the Nereids.

The architraves are not straight, as in Pure Greek and Roman architecture, but are formed by a small segment of a circle, upon which the floor of the supposed gallery must have rested. This innovation was a natural consequence of adopting ar ostyle intercolumniations. From it, it was a natural step to support arches avowedly on pillars, and abandon straight entablatures an architectural .abuse"as it is termed by critics, which arose among the Romans about the time of Titus, and was much followed by the Byzantines and Goths. The columns and walls of this hall are tinted yellow, and even the pictures are monochrome, as it is termed, or painted in one colour, that colour being yellow. This probably was an imitation of that extravagance which made the wealthier Romans cover their walls entirely with gilding. Two of the pictures remain: Theseus conversing with Ariadne after having killed the Minotaur; and as it should seem, Tiresias, after his transformation into a woman. The floor is mosaic, white bordered with black patterns. Of the two exedrae which flank this noble apartment, 28 is much more plainly decorated than the rest of the house. The cornice is richly wrought in stucco, the rest is a plain white ground; and as it cannot be supposed that this arrangement was intended to be permanent, in the midst of so much splendour, we have a fresh reason for supposing that the eruption of Vesuvius interrupted the restoration of this house. We may also infer, that, as the plaster was all laid on at once, it was intended to receive encaustic, or, at all events, not fresco paintings. The exedra, 29, is noble in its proportions, and richly ornamented in the prevailing style.

The great triclinium, 30, is of magnificent dimensions. It has two doors, one to the peristyle, the other to a passage, 34, which traverses the whole breadth of the house. Here again the paintings and the pavement are in the same style which we have described so often in this house, except that there are no Nereids. There is no visible provision for lighting this room, and the day must have been admitted through the roof, or through windows in the upper part of the walls, which, to correspond with the usual lofty proportions of Pompeian rooms, must have been of extraordinary height. There is one well preserved picture of the Judgment of Paris. 31. Antechamber. 32. Sleeping room, elegantly painted. 33. Probably the porter's lodge, having two doors, one to the atrium, the other to the peristyle, and two windows, one high and narrow, to the street, the other low and spacious, to the peristyle; so that this room commanded a view of both the chief apartments of resort.

The rest of the house is devoted to humbler purposes and meaner occupiers. The passage, 34, leads from the offices, passage communicates with the atrium, the peristyle, and the triclinium. It terminates in a back-door, 49. 35, 36, Chamber, and recess for the bed. 37.

Elevation of part of the Street of Tombs.

Inclined plane terminating in three steps a very common substitute for a staircase, as in the crypto-portico of Eumachia. 38, 39, 41. Ergastulum, or lodging of the slaves, as is conjecture from the retired situation, the total absence of ornament, the little light which could have been received by th rooms. 42. A chamber of a better order, which from neighbourhood to the kitchen was probably occupied by some head servant. 43. Kitchen, open to the passage. Above hearth is painted a serpent, twined round a tripod, and two camilli, or servants of the priest, about to assist at a sacrifice. 45. Sink, &c. 46, 47, 48. Mean rooms, probably occupied by servants. We give a section of the house on p. 429, drawn from A to B on the plan.