Stone Rings, to receive the Masts of the velarium, from the Great Theatre at Pompeii.

These are supposed to have been occupied by the musicians. In front is the entrance to the orchestra; above may be seen the six rows of steps which encircled it; then the cavea, despoiled of its marble, but still showing the lines of benches and stairs dividing them into cunei, and the vomitoria, or doors of entrance. Still higher is the women's gallery, and above that the external wall, which never was entirely buried, and might have pointed out to any curious observer the exact situation of Pompeii. In our general view, the reader will observe one of the masts which supported the velarium, or awning, restored : it passed through two rings of stone projecting from the internal face of the wall. At the Coliseum these masts were supported by consoles on the outside.

Respecting the scene we have little to add to what we have already said. Enough remains to show that the three chief doors were situated in deep recesses; those at the sides rectangular, the central one circular. In front of the latter were two columns. Behind it is the postscenium. From the eastern side of the stage a covered portico led into the orchestra of the small theatre, and seems to have been meant as a communication between the privileged seats of either house; for the convenience of those who were entitled to them. At the end of this portico is another communication with the square called the soldiers' quarters.

The same plan and the same disposition of parts are observable in the small theatre sometimes called the Odeum. In form, however, it is different, the horns of the semicircle being cut off by lines drawn perpendicular to the front of the stage. Another, and a more remarkable difference is, that it appears from the following inscription to have been permanently roofed, though probably only with wood:- C. QVINCTIVS. C. F. VALE. M. PORCIVS. M. F. DVO. VIR. DEC. DECK. THEATRVM. TECTVM. FAC. LOCAR. EIDEMQ. PROB. Caius Quinctius Valgus, son of Caius, and 'Marcus Porcius son of Marcus, Duumvirs, by a decree of the Decurions let out the covered theatre to be erected by contract, and the same approved it" It is supposed to have been erected shortly after the end of the Social War, and is inferior to the other theatre in decoration and construction. It is built of the tufa of Nocera, but the stairs which separate the cunei are of a very hard Vesuvian lava, well fitted to withstand the constant action of ascending and descending feet. The front wall of the proscenium, the scene, and the pavement of the orchestra, were entirely of marble of various colours African breccia, giallo antico, and a purple marble. A band of marble, striped grey and white, runs across the orchestra from end to end of the seats, and in it are inlaid letters of bronze, eight inches and a half long, and level with the surface, forming the following inscription: M. OLCONIUS. M.F. VERUS. 11VIR. PRO. LVDIS. Marcus Olconius Verus, son of Marcus, Duumvir for the Games: signifying probably that he laid down the pavement.

Bisellium, or Chair of State, found at Pompeii.

Within the orchestra itself there were four tiers of benches, upon which were placed the bisellia, or chairs of state, upon which the municipal authorities and persons of distinction sat. These were usually made of bronze, handsomely ornamented, and supported by four legs. The Romans always provided conspicuous and distinct seats for their magistrates. The curule chair, composed of ivory, was peculiar to those of the metropolis; the inhabitants of the colonies and municipalities placed their authorities upon a large chair, capable of containing two persons, though only one occupied it, whence this seat of honour was called bisellium. An inscription found at Nocera tells us that the perpetual duumvirate was conferred on one M. Virtius; and beneath is carved the bisellium, with its footstool (scabellum), and two lictors at the side, as the insignia of the, duumvirate. Two inscriptions in the Street of Tombs lead us to infer that this distinction was highly prized by the ancients, and only given to persons of eminent services or distinguished merit. Under both of them, bisellia, with their footstools and cushions, are carved. These bisellia were of several forms and different heights, according to the places for which they were intended : the highest, probably, were meant for the highest authorities; but high and low they had footstools, of one, two, three, or even more steps. Two have been found at Pompeii, of one of which we give an engraving. In form and ornament they are much alike, but they are very unequal in height. Both are made of bronze inlaid with silver. In execution and elegance they are equal, if not superior, to anything of the kind in modern art, and in the workmanship an extraordinary finish and accuracy is visible. These were placed, as we lave said, on the four ranges of steps within the orchestra, which are not so deep as the steps of the cavea, nor have they places hollowed out for the feet, to defend the backs of the inferior row of spectators, the different arrangement of seats making this unnecessary.

In the view which is given of this small theatre, the reader will plainly see the different parts of the building. Behind the four benches of the orchestra rises a high parapet, which separated the privileged and unprivileged seats. Behind this ran the pr cinctio or landing, accessible from below by the four curved steps at each end of the orchestra. Two of the stairs are visible, and a complete cuneus included between them. Above the cavea is the gallery for women. The cavea contained seventeen rows of seats. The only direct access to it is by a passage behind, also communicating with the orchestra of the large theatre, which opens into a circular corridor, where are the vomitoria and stairs to ascend to the gallery. It has been computed that there is accommodation for fifteen hundred persons.

View of the small Theatre.

The ends of the parapet are ornamented with winged griffins legs. Behind, two sculptured figures, stoutly proportioned, appear to support the side wall of the cavea, upon which ponderous bronze candelabra formerly stood. To the left are the stage, scene, and postscenium. The centre door, or valv regi , and one of the side ones, are visible, and the wall of the postscenium closes the view behind. The cavity running along the front of the stage was most likely meant to hold the curtain, which, as we have said, was raised, not let down, when it was necessary to conceal the scene. The marble facings of this part of the building seem to have been carried away after the eruption of Vesuvius. In front, there appear two entrances, one to the pulpitum or stage, the other to the orchestra: between them is a flight of steps which led up to the chamber or box above mentioned, as set apart probably for the person who celebrated the games.