At the opposite angle of the court was another exit, marked 21 ̊, leading into an alley which runs from the forum to the house

of Pansa. At this exit was the latrina, 22, the uses of which are unequivocally visible. The spot marked 19, which is singular on account of a sort of pronaos with seats, is vaulted, and was lighted at night by a lamp, so placed that its rays fell into the chamber 15 on one side, and enlightened 19 on the other. The same contrivance existed in the recess 14, where a lamp gave light also to the portico. Both these lamps were protected by circular convex

glasses, the fragments of which were found in the inner chambers at their excavation.

As the baths of Pompeii were not of sufficient consequence to be furnished with every sort of apartment, like those of the capital, we are to look for the vestibulum and the exedra, or a place which might serve instead of them, near the entrance of the thermo. 'In vestibulo deberet esse porticus ad deambulationes his qui essent ingressuri.' That portico is undoubtedly the one in the court; and the exedra, so called from the espai, or seats, where those who did not choose to walk in the portico might repose, is represented by the benches which run along the wall. [These are not given by Gell, but copied here from the Mus. Borb., and marked with o. Bechi considers them meant for the use of slaves who accompanied their masters to the bath, and calls the room 19 an ocus or exedra. B.] Vitruvius mentions that, while some were bathing, others were generally waiting to succeed them.

In this court, or vestibule, was found a sword with a leather sheath (?) and the box for the quadrans, or money, which was paid for each visitor. The quadrans was the fourth part of the assis,

[Fourteenth is put by

and the fourteenth part of a denarius. mistake for fortieth. It is natural, that after the denarius was computed equal to sixteen asses, the quadrans also underwent a reduction, and sixty-four went to a denarius. B.] A sum so moderate, that the heating of the baths could not have been defrayed without a crowd of bathers. The poet remarks upon the trifling sum with which a man made himself as happy as a king: Dum tu quadrante lavatum rex ibis. Hor. Sat. iii. [The meaning of this ironical passage has been clearly misunderstood by the author. B.]

Juvenal says that youths under the age of fourteen paid nothing. Sat. ii. [The words are, (v. 152): Nec pueri credunt, nisi qui nondum ære lavantur; but the sense seems rather to be, children who do not as yet visit the public baths. B.] The smallness of the sum, however, was a great encouragement to bathers, who, according to Pliny, sometimes bathed seven times in one day. [The author is much mistaken if he fancies this was usual. The passage in Pliny does not occur to me; but Æl. Lamprid. (11) says of Commodus: Lavabat per diem septies atque octies. However, this was a monstrous way of living. B.]

It is exceedingly probable (?) that the sword was that of the keeper of the therma, or balneator, whose station, with his box of money, must have been the ala of the portico, 19. This room was not painted, and the roof seems to have been blackened by the smoke of the lamps. Those who had paid here might have entered with some sort of ticket. Tickets for the theatre have been found at Pompeii, and have been engraved. One for the show of gladiators is in the possession of Mr Dodwell at Rome.

In this Doric portico persons waited for admission to the therma, which were not of sufficient size to admit conveniently more than twenty or thirty at once. Here, therefore, notices of shows, games, exhibitions, or sales, might conveniently be exposed to the public. Accordingly, on the south wall was painted in large letters, Dedicatione, etc. [Here follows the inscription, and then an explanation of the sparsiones, which I have omitted, as being of very little importance. We must however remark that he adduces another inscription, in which spassiones occurs. The author holds this to be a provincialism (?), and suspects that the first inscription had the word also thus written, though it was no longer fresh enough to ascertain this. Bechi says nothing about it. Relaz. d. Sc. Mus. Borb. ii. B.]

From the court, those who intended to bathe passed by a small corridor, into the chamber 17, which must be supposed to have corresponded with the first room of the Turkish bath, where

a stranger is undressed. [The author describes (p. 86) the arrangements of the Turkish baths, from which he proceeds to a description of those at Pompeii, which he considers analogous to them. B.] In this corridor was found a great number of lamps, perhaps more than five hundred, but above one thousand were discovered in the whole circuit of the baths, of which it is said the workmen were ordered to make a general destruction, after the best had been selected.

These lamps were generally of common terra cotta, and some of them had the impression of the figures of the Graces, and others of Harpocrates, of moderate execution. Athenæus (b. xv.) says that the lamps in baths were of brass, [He probably alludes to the words: ὁ δὲ Εὔβοιος πολλὰ μὲν εἴρηκεν ἐν τοῖς ποιήμασι χαρίεντα· περὶ μὲν τῆς τῶν βαλανείων μάχης· Βάλλον δ' ἀλλήλους χαλκήρεσιν ἐγχείῃσιν. But what right there is to assume from thence that the lamps were of brass, we cannot conceive. B.] and distinguished by names expressive of the number of burners, such as monomyxi, dimyxi, trimyxi, and polymyxi; but the authors who have written on the subject, seem to speak always of buildings and customs on a scale of magnificence too extravagant to guide us in the explanation of the Pompeian therma. Some attention has been paid to the decoration of this passage, the ceiling being covered with stars.

In the room 17, all who frequented the therma for the purpose of bathing met, whether they entered by the portico, or from either of the doors from the street on the north; and here was certainly the frigidarium, in which many persons took off their garments, but more especially those who intended to make use only of the natatio, or cold bath. To them, at least, this chamber served as the spoliatorium, apodyterium, or apolyterium, so called from the Aroduτýptov of the Greeks, signifying the place where the clothes were left; [The apodyterium, as Bechi also observes, was never called spoliatorium, and even spoliarium is very doubtful as far as regards baths. Apolyterium is perfectly erroneous. B.] and accordingly we may observe on entering, certain holes in the wall, in which had either been inserted rafters or pegs for supporting shelves, or for hanging garments. Pliny mentions that people first entered into the apodyterium, or tepidarium, with a temperate air, and consigned their garments to caprarii, which were probably pegs, so called from their likeness to horns. [Where Pliny says this, we know not; for the author is not used to give references to the passages he alludes to. Bechi, too, says: 'There are apertures in the wall made to receive the wooden props or hocks on which were hung the garments of those who undrest here,

before taking the bath in the adjoining rooms.' But it seems almost indubitable, that a sad confusion has been made here between caprarii and capsarii, persons who took charge of the clothes at the bath. Shelves are visible in the painting from the baths of Titus, in the tepidarium, on which a man is just placing garments. B.]

The chamber itself, which is spacious, is vaulted, and the arch springs from a projecting cornice, covered with a richly-coloured painting of griffins and lyres. The ceiling appears to have consisted of panels of white within red borders, and the pavement of the common sort of white mosaic. The walls were painted yellow. Stone benches occupy the greater part of the walls, with a step running below them slightly raised from the floor. A little apartment at the north end may have been either a latrina, or, if it had sufficient light, a tonstrina for shaving, or it might possibly have served for keeping the unguents, strigils, towels, and other articles necessary for the accommodation of the visitors.

It is probable that a window once existed at the north, like that now remaining at the south end; but in no case could this, or any other room in the Pompeian thermæ, answer to the description of the wide windows of the frigidarium of the author, who says, Frigidarium locus ventis perflatus fenestris amplis. The yet remaining window admitted light from the south, and is placed close under the vault of the roof, and rather intrenching upon it. It opens upon the roof of the chamber 18, and was not only formed of glass, but of good plate glass, slightly ground on one side so as to prevent the curiosity of any person upon the roof. Of this glass all the fragments remained at the excavation; a circumstance which appeared not a little curious to those who imagined that its use was either unknown, or very rare among the ancients, and did not know that a window of the same kind had been found in the baths of the villa of Diomedes.

Glass seems to have at first been brought from Egypt (?), and to have, in fact, received its name of vaλòs from the Coptic. Crystal, κρúσтaλos, or the permanent ice of the ancients, originally designated the natural stone itself. It is said to have been little known in Rome before 536 A. U. C., but this would give ample time for its use at Pompeii long before its destruction.

There are few subjects on which the learned seem to have been so generally mistaken as that of the art of glass-making among the ancients, who seem to have been far more skilful than was at first imagined. Not to mention the description of a burning-glass in the Nubes of Aristophanes, v. 764, the collection which Mr Dodwell