The rooms are built round a court, or sometimes two, according to the extent of the house. In the midst is a fountain, sometimes surrounded with a portico, supported on fluted columns of white stucco; the floor is paved with mosaic, sometimes wrought in imitation of vine leaves, sometimes in quaint figures, and more or less beautiful, according to the rank of the inhabitant. There were paintings on all, but most of them have been removed to decorate the royal museums. Little winged figures, and small ornaments of exquisite elegance, yet remain. There is an ideal life in the forms of these paintings of an incomparable loveliness, though most are evidently the work of very inferior artists. It seems as if, from the atmosphere of mental beauty which surrounded them, every human being caught a splendour not his own. In one house you see how the bed-rooms were managed;—a small sofa was built up, where the cushions were placed; two pictures, one representing Diana and Endymion, the other Venus and Mars, decorate the chamber; and a little niche, which contains the statue of a domestic god. The floor is composed of a rich mosaic of the rarest marbles, agate, jasper, and porphyry; it looks to the marble fountain and the snow-white columns, whose entablatures strew the floor of the portico they supported. The houses have only one story, and the apartments, though not large, are very lofty. A great advantage results from this, wholly unknown in our cities. The public buildings, whose ruins are now forests as it were of white fluted columns, and which then supported entablatures, loaded with sculptures, were seen on all sides over the roofs of the houses. This was the excellence of the ancients. Their private expenses were comparatively moderate; the dwelling of one of the chief senators of Pompeii is elegant indeed, and adorned with most beautiful specimens of art, but small. But their public buildings are everywhere marked by the bold and grand designs of
