supplied those who feasted with dainties; and it has
been called the Street of Dried Fruits, from the quantity of raisins,
figs, plums, and chestnuts, fruit of several sorts preserved in vases
of glass, hempseed, and lentils. It is now, however, more generally
known as the Street of the Augustals. Scales, money, moulds for pastry
and bread, were discovered in the shops; and a bronze statue of Fame,
small, and delicately executed, having golden bracelets round the
arms.

In the northern entrance to the building the name CELSVM was written
on a pilaster; near it was found in a box a gold ring with an engraved
stone set in it, forty-one silver, and a thousand and thirty-six brass
coins.

The next group of vessels, though nearly destitute of ornament, and
probably of a very ordinary class, will serve to give us some idea of
the cooking vessels of the Romans. One of the most celebrated vases in
the Neapolitan collection was found with a bronze simpulum in it; and
upon the vase itself there was a sacrificial painting, representing a
priest in the act of pouring out a libation from a vase with the
simpulum.

Pottery in ancient times was usually much more ornamental than at
present, although it was often the case that their ornaments were
rather an inconvenience, and would simply encumber the vessels; in our
practical age more importance is placed in the convenience and utility
than in beauty. Even their common vessels are not without a certain
degree of elegance, both in form and workmanship.

[Illustration: VESSELS. (_From Pompeii._)]

Great numbers of clay vases have been found, of which the following is
a very beautiful specimen. The lip and base have the favorite ovolo
moulding; the body has two rows of fluting separated by a transverse
band, charged with leaves, and with a swan in the centre. The neck of
the vase is painted, and the same subject is given on each side. It
represents a chariot, drawn by four animals at full gallop, which
appear to be intermediate between tigers and panthers. A winged genius
directs them with his left hand, while with his right he goads them
with a javelin.

Another winged figure preceding the quadriga, with a thyrsus in his
left hand, is in the act of seizing the bridle of one of the animals.
The whole is painted in white on a black ground, except some few of
the details, which are yellow, and the car and mantle of the genius,
which are red. The handles represent knotted cords,