sequently have fallen in from
the upper stories; and others on the pavement itself. But one of the
most important discoveries was the skeleton of a woman, near the
entrance of the tablinum. She appears to have been in the act of
flight, and had with her a small box containing her valuables and
nick-nacks. Among the most curious of these was a necklace composed of
amulets, or charms, which, it will be observed, are all attributes of
Isis and her attendant, Anubis, or of her husband Osiris, here
considered as Bacchus. The mystic articles kept in the Isiac coffer
were, says Eusebius, a ball, dice, (_turbo_) wheel, mirror, lock of
wool.

The first bed-chamber on the right of the atrium communicated with the
store No. 3, and was probably occupied by the slave who conducted the
business of it. The first bed-chamber on the left had a similar
communication with the store outside.

[Illustration: WALL PAINTING DISCOVERED AT POMPEII.]

There are few houses in Pompeii in which the paintings are more
numerous or better preserved than in that which we are examining. The
second bed-chamber on the right has several. In this room may be
observed a space hollowed in the wall to receive the foot of a bed or
coutch. The walls are white, with a red podium, and are surmounted by
a cornice from which springs the vault. The upper part is painted with
lines, between which are depicted griffins in repose, baskets with
thyrsi, branches of herbs, and other objects.

The lower part of the walls is divided into larger compartments by
candelabra supporting little globes. In each compartment are eight
small pictures, representing the heads and busts of Bacchic
personages, in a very good state of preservation. On the left is
Bacchus, crowned with ivy, his head covered with the _mitra_, a sort
of veil of fine texture which descends upon his left shoulder. This
ornament, as well as the cast of his features, reveals the half
feminine nature of the deity. Opposite to him is the picture of
Ariadne, also crowned with ivy, clothed in a green _chiton_ and a
violet _himation_. She presses to her bosom the infant Iacchus,
crowned with the eternal ivy, and bearing in his hand the thyrsus.
Then follow Bacchic or Panic figures, some conversing, some drinking
together, some moving apparently in the mazes of the dance. Paris,
with the Phrygian cap and crook, seems to preside over this voluptuous
scene, and to listen to a little Cupid seated on his shoulder.