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Published online by Cambridge University Press: 09 August 2013
This second series of the neglected wall-paintings of ancient Rome follows on that published in the last number of these Papers (vol. vii. 1914, p. 121 ff.). As before, the coloured plates are from water-colour drawings by Mr. F. G. Newton executed in the summer of 1913. The paintings, now reproduced on Plates III.–IX., adorn certain rooms in a private house in the Via de' Cerchi, the back of which is built against the southern slope of the Palatine, while the front abuts almost on the structures of the north-east end of the Circus Maximus; its vestibule, indeed, must have touched the northern line of the road that ran between the outer walls of the Circus and the hill, coinciding practically with the modern street.
page 91 note 1 This house has been identified, but without reason, with the Domus Gelotiana of Caligula.
page 92 note 1 It should be noted that this had happened once before. Huelsen in 1893 complains that the house, cleared five years previously (in the presence of the German Emperor), had been again filled up with earth or rubbish ‘for the sake of better preservation.’
page 94 note 1 Miss van Deman, however, seems to think that the new passages at the back explored by Mr. Newton may have belonged to a lower story of the Paedagogium, and in effect the corridor, as may be seen on Marchetti's plan (where I have marked it with a D), had a different orientation from that of the house.
page 94 note 2 The projection is visible in the photos on the left of Plate VIII. Fig. 1 and on the right of Plate VIII. Fig. 2, and is clearly indicated in plan at the bottom cf Fig. 2.
page 96 note 1 Both Marchetti and Huelsen interpret this design as a hippocamp, but the goat's head with horns and beard is still quite distinct, and may be seen in the photograph.
page 96 note 2 Only faintly discernible in Mr. Newton's drawing.
page 96 note 3 Fairly close analogies seem offered by the open colonnade of the room with the garlands of the House of Livia on the Palatine, and by the decorations from the circular corridor in the house from the Farnesina (Terme Museum, Room XIX. Helbig, 1464); in both these instances, however, the columns, which are of a much lighter character, rest direct on the ledge of the podium, without projecting pedestals, and support an architrave above which runs an unbroken frieze adorned with paintings.
page 98 note 1 E.g. on the cornice of the temple of Vespasian; on a fragment of cornice at Ostia; on a basis in the Museo delle Terme (room XX. No. 670) and on a relief in the garden of the same Museum, etc.
page 98 note 2 According to Huelsen an imitation of alabaster is intended.
page 99 note 1 Marchetti points out that a series of paintings with similar subjects was discovered in a house near the Lateran in 1780 and published in 1783 by Cassini, G. M. (Pitture Antiche ritrovate netto scavo aperto di ordine di N. S. Pio Sesto in una vigna accanto il V Ospedale di S. Giovanni in Laterano, Anno 1780)Google Scholar: the house has long since disappeared; it contained a spacious loggia or galleria decorated with a series of figures carrying trays with various eatables (sucking-pig, chicken, fruit, cereals, etc.) and one dispensing wine, each enclosed in a tall panel. Of the seven figures discovered (and published by Cassini) apparently only two and portions of a third survived. As far as can be judged from engravings of the period of 1783, the action seems somewhat akin to that of our ‘waiters,’ though Cassini or one of his collaborators may be right in deducing from the gorgeousness of the garments, and the character of the objects which they carry, that the figures are not ordinary servants but rather ministrants in a scene of ritual. The three extant figures (of which one is thought to be female) are now in Naples (Guida Ruesch, p. 58, n. 185–7, Inv. 84, 284–6), where they are attributed to the third-fourth century; in any case they would be considerably later than ours. The garments are adorned with heavy medallions embroidered with pearls.
page 100 note 1 Builder, December 18, 1914.
page 101 note 1 See above, p. 94, n. 1. Dr. E. van Deman (see App.) judges the brickwork to be not earlier than Domitian.
page 101 note 2 Weege in Arch. Jahrbuch, 1913 (xxviii.), pp. 167–169 and Figs. 12–15.
page 101 note 3 Cf. especially Weege, loc. cit. Figs. 55, 56 and Pl. XX.
page 101 note 4 Ib. Figs. 41, 42, 43.
page 101 note 5 See his note in P.B.S.R. vii., p. 123.
page 102 note 1 For the rich harvest to be gleaned here see my Apotheosis and Afterlife, pp. 205–213.
page 102 note 2 Ruins and Excavations, p. 186 and Fig. 70 above p. 91, n. 1.
page 103 note 1 C.I.L. xv. 1097 (75–108 A.D.).
page 103 note 2 i.e. the aforementioned house in the Via de' Cerchi.