5. The period from the last decades of the Republic to the earthquake of A.D. 63. No homogeneous series of buildings—we find various styles of construction (quasi-reticulate, opus re ticulatum of tufa with stone quoins, of the time of Augustus, opus reticulatum with brick quoins or with mingled stone and brick quoins, a little later) ; and three styles of wall decoration fall within its limits: the later stage of the second, already men tioned, the third or ornate, with its freer use of ornament and its introduction of designs which suggest an Egyptian origin (origi nating in the time of Augustus), and the fourth or intricate, with a return to architectural forms, dating from about A.D. 5o. Marble first appears as a building material in the temple of Fortuna Augusta (c. 3 B.c.).
6. The period from the earthquake of A.D. 63 to the final de struction of the city, the buildings of which can easily be recog nized. The only wholly new edifice of any importance is the central baths.
Outside the Porta Ercolanese, or gate leading to Herculaneum, is found a house of a different character from all the others, un doubtedly a large villa; its remains are of interest as aiding us in understanding the description of ancient authors, such as Vitruvius and Pliny, of the numerous appurtenances frequently annexed to houses of this description.
In the cellar of this villa were discovered no less than twenty skeletons, and fourteen in other parts of the house. Almost all the skeletons and remains of bodies found in the city were dis covered in similar situations, in cellars or underground apart ments—those who had sought refuge in flight having apparently for the most part escaped from destruction, or having perished under circumstances where their bodies were easily recovered by the survivors. It has been found possible in many cases to take casts of the bodies found.
An interesting farm-house (few examples have been so far dis covered in Italy) is that at Boscoreale excavated in 1893-94, which contained the treasure of one hundred and three silver vases now in the Louvre. The villa of P. Fannius Synhistor, not far off, was excavated in 19oo ; it had fine wall paintings, which were ex ported, and sold by auction in Paris (some now in the Louvre, while others are in New York). (See F. Barnabei, La Villa pom peiana di P. Fannio Sinistore; Rome, 1901.) Another, closer to Pompeii, in the so-called Villa Item, contains remarkable life size frescoes representing scenes of initiation into the mysteries of Dionysus or of Orpheus.
The road leading towards Herculaneum is bordered on both sides for a considerable extent by tombs, in many instances monu ments of considerable pretension, and of a highly ornamental character, which present in the highest degree the advantage common to all that remains of Pompeii, their perfect preservation.
There appears to have been in the same quarter a considerable suburb, outside the gate, extending on each side of the road to wards Herculaneum, apparently much resembling those which are now found from thence to Naples. Other suburbs were situated at the harbour and at the saltworks (salinae).
No manuscripts have been discovered in Pompeii. Inscriptions have been found in considerable numbers, and give much infor mation concerning the municipal arrangements of the town, as well as the construction of various edifices and other public works. The most interesting of these are such as are written in the Oscan dialect, which appears to have continued in official use down to the time when the Roman colony was introduced by Sulla. From that time the Latin language was the only one officially employed. Still more curious are the numerous writings painted upon the walls, which have generally a semi-public character, such as recom mendations of candidates for municipal offices, advertisements, etc., and the scratched inscriptions (graffiti), which are generally the mere expression of individual impulse and feeling, frequently amatory, and not uncommonly conveyed in rude and imperfect verses. In one house also a whole box was found filled with written tablets—diptychs and triptychs—containing the record of the accounts of a banker named L. Caecilius Iucundus.
See A. Mau, Pompeii: its Life and Art (trans. by F. W. Kelsey, 2nd ed., New York and London, 1902 ; 2nd revised edition of the German original, Pompeii in Leben and Kunst, Leipzig, 1908) with Anhang (1913), with full references; and, for later excavations, Notizie degli Scavi and Romische Mitteilungen, passim. A. W. Van Buren in Classi cal Journal xv. (1919-2o) 404-416, and Companion to Pompeian Studies (American Academy in Rome, 2927) ; W. Engelmann, New Guide to Pompeii (Leipzig, 1925) ; A. Ippel, Pompeii, ib. id.; T. Warscher, Pompeii, ein Fiihrer durch die Ruinen. For the inscriptions on the tablets and on the walls, Corpus inscriptionum latinarum, vol. iv. For the paintings, see E. Pfuhl, Masterpieces of Greek Drawing and Painting (tr. J. D. Beasley, London 1926) ; M. Della Corte, Case ed abitanti a Pompeii (Pompeii, 1926). (E. H. B. ; T. A.)