The museum of classical antiquities : being a series of essays on ancient art . e Cav. Avellino, whoexpressed himself as being dissatisfied with the above explanation, and whostated his intention of offering another interpretation: an intention unhappilyfrustrated by his lamented decease. {Bull. Archeol. Nap., No. 91.) We learn,however, by Gerhards Archdolog. Anzeiger, that it is about to be published bySignori Minervini, Quaranta and Garucci, in the Trans, of the AccademiaErcoJanese. G2 REPORT ON A HOUSE AT POMrEII ; The side panels of these pictures are occupied by sir heau-tiful little Diom
The museum of classical antiquities : being a series of essays on ancient art . e Cav. Avellino, whoexpressed himself as being dissatisfied with the above explanation, and whostated his intention of offering another interpretation: an intention unhappilyfrustrated by his lamented decease. {Bull. Archeol. Nap., No. 91.) We learn,however, by Gerhards Archdolog. Anzeiger, that it is about to be published bySignori Minervini, Quaranta and Garucci, in the Trans, of the AccademiaErcoJanese. G2 REPORT ON A HOUSE AT POMrEII ; The side panels of these pictures are occupied by sir heau-tiful little Diomjsiac imintings^ representing Cupids and Psychesunder canopies or awnings supported by poles, carousing,dancing, singing, and acting. When first discovered, theyY/ere suinciently clear; but, in the short space of two years,they had already become nearly eiFaced, from the action of thesalt.* They arc all inserted paintings, and measure, on anaverage, 1 ft. 6 ins. l)y 1 ft. 4i ins. Three are dramatic, andtliree symposiac. The subject of left panel of tablinum wall represents a. Cupid as choragus of the theatre, holding a long rod to ariband is attached, standing before a table, and holding a maskin his left hand. Two other masks lie on the table. OneCupid is tying on the cothurnus, and two others are standingbehind. * The decay of these pictures shews the evil consequences resulting fronithe continuance of the present prohibitory system. No one is allowed to drawan unedited monument until after the expiration of three years, at the end ofwhich time the paintings are often so changed by the fading of the colours andthe obliteration of the details, as to render any attempt at copying them hope-less. It is lamentable to consider the ravages of time on the frescoes whichhave been discovered since the first excavations at Pompeii. Every fresco shoiild be protected by a coating of liquid v/ax. EXCAVATED UNDER PERSONAL SUPERINTENDENCE. 63 In that on right hand of opposite wall a
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