The Kenosha telegraph. [volume] (Kenosha, Wis.) 1860-1888, 1882-06-09

and many interesting objects obtained.
Among the most important relics of an
cient art was a bronze faun or satyr,
ornamenting, when found, the facade OF
an imposing mansion. This faun is
fifty-fiye centimeters In height, beauti-
full in execution, but more or less injured
by the coloring matter that was orig
inally used upon it. The head is sur
rounded by wreath, and on the shout
der rests huge leather bag or bottle.
The glance Of the faun is turned toward
the neck Of the bottle, and he appears
to be watching an imaginary stream
with sort of half-drunken ecstasy.
Such designs as these were frequent
among the Pompeiians for their fount-
aims, fauns and satyrs in various stages
of inebriety being afavorite subject with
their artists. Another bronze found in
similar position to this one, on
the facade of mansion, represents
Cupid with the dolphin. The marine
animal is perched upon the boys right
shoulder; while in his left hand he holds
flower.
A very remarkable group of statuettes
was found in chapel situated off the
main hall, or atrium, of house. These
chapels were quite customary in Pom
peiian dwellings,, and contained the
Lares and Penates or household gods, with
which each family was usually veil sup
piled. The main figure, female deity
representing Fortune, is seated between
two Lares, while above her head was
suspended An elegant lamp. The god
dess is covered with an ample ttlnic and
mantle. The various parts of the chair
or throne were covered with handsome
ornaments, as were also the circular
bases supporting the Lares. Two Trit-
ons in the act of sounding their trum-
pets are perched upon the back of tho
chair. The latter is pronounced by art
lists and arch@ologists in Italy to be a
mostperfect model of the sculptured
chairs usually found in antique monu-
ments. The lamp is a remarkable OBJ
ject. being shaped like human foot
clad in the most-elegant boot, and was
originally profusely ornamented with
silver, now thoroughly oxidized by the
influence of time.
The works Of art and other relics that
have been transferred from Pompeii to
the museum at Naples occupy large
portion of that immense building, which
was originally built in 1856 by the Vice
roy, Duke of Ossuna, for cavalry bar
racks, and 200 years later was fitted up
for the reception of the royal antiquities
and pictures. The Pompeiian fTescoes
alone fill more than one-half the rooms
on the ground floor. Seven rooms and
q corridor scarcely furnish sufficient
space to accommodate the collection.
They are grouped according to their
subjects, and each group is furnished
with Roman numeral These works are.
with the exception of painted vases and
mosaics, almost the only specimens of
ancient paintings that have come down
to us. From them we learn how the
painters of those early times treated
light and color and shade. Many of
them are beautifully conceived. and ex-
ecuted with an easy, mastery touch.
Their range is wide, including land
scapes and historical and NEUROLOGICAL
subjects. Some of them may be copies
from celebrated or favorite pictures of
the time, but the style is such as to pre-
clude the idea that they were mechanic
ally copied or stenciled, and the easy.
rapid execution shows that they were
intended for effect, and not for close in
spection. The bronzes and marbles
from Pompeii are remarkably we'll pre-
served.
The upper story of the museum is al.
most exclusively devoted to relics Of
Pompeii. Here are the household uten-
sils, the earthen dishes, the drinking
vessels, the loaves of bread, and the
other remnants of charred food and
clothing that were discovered among the
ruins. These objects give one almost a
more vivid impression of the terrific
calamity that overlook Pompeii than a
visit to the city itself. Here are the
| bottles OF oil, the pans filled with meat,
| the bread taken from the oven, the re-
mains OF fish, dates, nuts, eggs and all
| the other articles of food that supplied
the table of Roman family. One of
the most significant objects is WE'LL
preserved purse containing three copper
coins, and suggesting that the fortunes
OF some one among the inhabitants of
| Pompen were at low ebb.
The parts of pompeii which have al
ready been excavated are probably the
most important, although there is of
course no means of knowing what NAV
lie under the green acres at present I'M
disturbed. We have, however, the Fo-
rum with the contiguous temples and
public buildings, two theaters with large
colonnades. the amphitheater, and con
siderable humber of private dwellings,
OF more or less ornate character. The
streets bordered by pavement are
straight and narrow, the widest not be-
ing more than twenty-four feet in
breadth, but they are admirably paved
with large polygonal blocks of lava. At
intervals, especially at the corners, are
placed high stepping stones leading
from one side of the pavement to the
other, intended for the use of foot-pas-
sengers In rainy weather. The wagons
have made deep ruts in the causeways,
and the horses hoofs have made impress
slons on the stepping stones over which
they were obliged to pass. In the streets
are frequently seen notices painted IN
redletters, referring generally TO the cleo
ton OF the municipal authorities, and
i recommending some particular ildivid-
ual as sedile or duumvir, for the pur-
pose OF averting the evil eye, and one or
two large snakes, the emblems of the
Lares, the gods of the hearth and of
crossways, are very common. Succeed
walls are often covered with roughly
scratched drawings resembling those
wherewlth the street Arabs of our own
day delight to decorate blank surfaces
The dwelling houses of Pompeii differ
greatly in size, and were obviously fitted
up In accordance with the nature OF the
situation or the means and taste of their
owners. A few are built of block stone,
but the majority of small stones or brick
consolidated NTH ooraanA unI.A-.A.l1