The Life in Ancient Times: Discoveries of Pompeii, Ancient Greece, Babylon & Assyria. T. L. Haines
found in one of the imperial baths; and Baccius, a great modern authority on baths, speaks of labra made of glass.
This apartment, like the others, is well stuccoed and painted yellow; a cornice, highly enriched with stucco ornaments, is supported by fluted pilasters placed at irregular intervals. These are red, as is also the cornice and ceiling of the laconicum, which is worked in stucco with little figures of boys and animals.
The women's bath resembles very much that of the men, and differs only in being smaller and less ornamented. It is heated, as we have already mentioned, by the same fire, and supplied with water from the same boilers. Near the entrance is an inscription painted in red letters. All the rooms yet retain in perfection their vaulted roofs. In the vestibule are seats similar to those which have been described in the men's baths as appropriated to slaves or servants of the establishment. The robing-room contains a cold bath; it is painted with red and yellow pilasters alternating with one another on a blue or black ground, and has a light cornice of white stucco and a white mosaic pavement with a narrow black border. There are accommodations for ten persons to undress at the same time. The cold bath is much damaged, the wall only remaining of the alveus, which is square, the whole incrustation of marble being destroyed. From this room we pass into the tepidarium, about twenty feet square, painted yellow with red pilasters, lighted by a small window far from the ground. This apartment communicates with the warm bath, which, like the men's, is heated by flues formed in the floors and walls.
There are in this room paintings of grotesque design upon a yellow ground, but they are much damaged and scarcely visible. The pavement is of white marble laid in mosaic. The room in its general arrangement resembles the hot bath of the men; it has a labrum in the laconicum, and a hot bath contiguous to the furnace. The hollow pavement and the flues in the walls are almost entirely destroyed; and of the labrum, the foot, in the middle of which was a piece of the leaden conduit that introduced the water, alone remains. On the right of the entrance into these women's baths is a wall of stone of great thickness and in a good style of masonry.
These baths are so well arranged, with so prudent an economy of room and convenient distribution of their parts, and are adorned with such appropriate elegance, as to show clearly the intellect and resources of an excellent architect. At the same time some errors of the grossest kind have been committed, such as would be inexcusable in the most ignorant workman; as, for instance, the symmetry of parts has been neglected where the parts correspond; a pilaster is cut off by a door which passes through the middle of it; and other mistakes occur which might have been avoided without difficulty. This strange mixture of good and bad taste, of skill and carelessness, is not very easily accounted for, but it is of constant recurrence in Pompeii.
ANCIENT BATH-ROOM. (As discovered).
Vitruvius recommends the selecting a situation for baths defended from the north and northwest winds, and forming windows opposite the south, or if the nature of the ground would not permit this, at least towards the south, because the hours of bathing used by the ancients being from after mid-day till evening, those who bathed could, by those windows, have the advantage of the rays and of the heat of the declining sun.
For this reason the Pompeian baths hitherto described have the greater part of their windows turned to the south, and are constructed in a low part of the city, where the adjoining buildings served as a protection to them from the inconvenience of the northwest winds.
Before concluding this account of the Stabian baths, we should mention that under the portico, near the entrance to the men's baths, was found a sun-dial, consisting as usual of a half circle inscribed in a rectangle, and with the gnomon in perfect preservation. It was supported by lion's feet and elegantly ornamented. On its base was an Oscan inscription, which has been interpreted as follows by Minervini: Marius. Atinius, Marii filius, quæstor, ex multatitia pecunia conventus decreto fieri mandavit. That is: the Quæstor M. Atinius, in accordance with a decree of the assembly, caused it to be made out of money levied by fines. The title of "Quæstor" seems to show that this inscription must have been written after the occupation of Pompeii by the Romans, but at the same time at a period when the Oscan tongue continued to be generally spoken. The fines alluded to were probably levied for breaches of the rules to be observed in the palæstra.
Social Games and Sports.
Jugglers of both sexes, either single or in gangs, were common all over Greece putting up their booths, as Xenophon says, wherever money and silly people could be found. These frequently amused the guests at drinking feasts with their tricks. The reputation of this class of people was anything but above suspicion, as is proved by the verse of Manetho ("Apotheles," IV., 276), in which they are described as the "birds of the country, the foulest brood of the city." Their tricks were innumerable, and outvied in boldness and ingenuity those of our conjurors, barring, of course such as are founded on the modern discoveries of natural science. Male and female jugglers jumped forwards and backwards over swords or tables; girls threw up and caught again a number of balls or hoops to the accompaniment of a musical instrument; others displayed an astounding skill with their feet and toes while standing on their hands. Rope-dancers performed the most dangerous dances and salti-mortali. In Rome even elephants were trained to mount the rope. Flying-machines of a construction unknown to us are also mentioned, on which bold aeronauts traversed the air. Alkiphron tells a story about a peasant who, on seeing a juggler pulling little bullets from the noses, ears, and heads of the spectators, exclaimed: "Let such a beast never enter my yard, or else everything would soon disappear." Descriptions of these tricks are frequent in ancient writers, particularly in the indignant invectives of the early fathers of the Church. Amongst the pictures of female jugglers in all kinds of impossible postures, can be seen a girl performing the dangerous sword-dance, described by Plato. It consists in her turning somersaults forwards and backwards across the points of three swords stuck in the ground. A similar picture we see on a vase of the Berlin Museum. Another vase shows a female juggler dressed in long drawers standing on her hands, and filling with her feet a kantharos from a krater placed in front of her. She holds the handle of the kantharos with the toes of her left foot, while the toes of her other foot cling round the stem of the kyathos used for drawing the liquor. A woman sitting in front of her performs a game with three balls, in which the other artiste also seems to take a part. In another, a girl in a rather awkward position is shooting an arrow from a bow.
Of social games played by the topers we mention, besides the complicated kottabos, the games played on a board or with dice. Homer already mentions a game of the former class, and names Palamedes as its inventor; of the exact nature of this game we know little or nothing. Neither are we informed of the details of another kind of petteia played with five little stones on a board divided by five lines.
The so-called "game of cities" seems to have resembled our chess or draughts. The board was divided into five parts. Each player tried to checkmate the other by the skillful use of his men. Games of hazard with dice and astragaloi were most likely greater favorites with the topers than the intellectual ones hitherto described. The number of dice was at first three, afterwards two; the figures on the parallel sides being 1 and 6, 2 and 5, 3 and 4. In order to prevent cheating, they were cast from conical beakers, the interior of which was formed into different steps. Each cast had its name, sixty-four of which have been transmitted to us by the grammarians. The luckiest cast, each of the dice showing the figure 6, was called Aphrodite; the unluckiest, the three dice showing the figure 1, had the names of "dog" or "wine" applied to it.
Another game of a similar nature was played with the so-called astragaloi, dice of a lengthy shape made of the knuckles of animals. Two of the surfaces were flat, the third being raised, and the fourth indented slightly. The last-mentioned side was marked 1, and had, amongst many other names, that of "dog;" the opposite surface, marked 6. The Latin names of the two other sides marked 3 and 4 were suppus and planus respectively. The figures 2 and 5 were wanting on the astragaloi, the narrow end-surfaces not being counted. The number of astragaloi used was always four,