^{page 301 note a} Since this paper was laid before the Society there has been published in the Bulletino dell' Imperiale Istituto Archeologico Germanico (1896), xi. 3–97, a valuable account of the house in question, by August Mau, the greatest authority on Pompeian wall decoration.

^{page 302 note a} Enlarged from that in Bulletino dell' Imperiale Istituto Archeologico Germanico Sezione Romana (1896), vol. xi. fasc. 1.

^{page 303 note a} The carving on one of these pillars, as Mr. A. H. Smith has pointed out to me, appears to have been left unfinished. Mau considers that the double bust of Silenus and the Bacchante is the earlier, Bulletino (1896), p. 42.

^{page 303 note b} One Vettius Bolanus was sent by Vitellius to take the command in Britain (Tacitus, Historiœ, ii. 65), to which task he seems to have been hardly equal, see Tacitus, Historiœ, ii. 97; Agricola, 8 and 16. Vettius Valens appears in the list of Messalina's lovers, Tacitus, Annales, xi. 30, 31, and 35. Though coming to the front under the early empire, the Vettia gens is hardly known before the last century of the Republic. Vettius Scato was an Italian leader in the Marsic war. There is a denarius of T. Vettius Judex with the agnomen Sabinus. For tombstones of Vettii see Corpus Inscriptionum Latinarum, vi. 28662 to 28691; of Vettiae 28692 to 28713.

^{page 304 note a} Notizie degli Scavi, Gennaio, 1895, p. 32.

^{page 304 note b} So we have Vettius Aquilinus Juvencus.

^{page 304 note c} The actual name, A. VETTI · CONVIVAI occurs in one of the tablets of Caecilius Jucundus. See De Petra in the Atti of the Accademia dei Lincei, 1876, p. 208, No. 79. No fewer than six other Vettii appear in these tablets.

^{page 307 note a} Marriott, in English Illustrated Magazine for 1896, 451.

^{page 307 note b} Helbig, Wandgemälde der vom Vesur verschütteden Städte Campaniens, 65, see Monumenti inediti pubblicati dall' Instituto di Corrispondenza Archeologica, iii. 6a.

^{page 307 note c} The Dionysus of the Monument of Thrasyllus and the famous charioteer on the Mausoleum frieze have been taken for women on account of their dress.

^{page 307 note d} Compare the serpent in the painting inscribed “Genius hujus loci montis.” Pitture d'Ercolano, i. 207.

^{page 307 note e} See Wissowa in Roscher's Ausjührliches Lexikon der griechischen und römischen Mythologie, 1876.

^{page 307 note f} Di Penates meum parentum, familiai Lar pater, Mercator, v. i. 5. It is to be observed that in the above line Penates in connected with parentum, Lar with familiai. In this scene the Penates and the Lar are twice mentioned, the former (as always) in the plural, the latter in the singular. The plural Laribus familiaribus occurs in Plautus, viz. Rudens, 1207, where all the gods of the hearth are implied. In Mercator, 5, 2, 24, the Lares are viales, the protectors of the wayfarer.

^{page 308 note a} Saturnalia, III. iv. 8.

^{page 308 note b} Babelon, Description historique et chronologique des monnaies de la République Romaine, 281.

^{page 308 note c} See Ovid, Fasti, v. 137–142.

^{page 308 note d} I. 68.

^{page 308 note e} V. 31.

^{page 308 note f} Aulularia, prologue, 1–3.

^{page 309 note a} See Helbig, Wandgemälde, 59 b, and C. I. L. 10,861.

^{page 309 note b} These were the deities of the sea to whom Æmilius dedicated a temple in the Campus Martius, Livy, xl. 52. Cf. Baehrens, Fragmenta Poetarum Romanorum, 54.

^{page 309 note c} Cf. Cato, De agricultura, 143.

^{page 310 note a} Tibullus, I. i. 19, 20.

Vos quoque, felicis quondam, nunc pauperis, agri

Custodes, fertis munera vestra, Lares.

So Cicero, lucos in agris habento et larum sedes, De Legibus, II. 19; cf. 27.

^{page 310 note b} In the Bronze Room at the British Museum (wall-case 50 and 51), there is a shelf filled with statuettes of Lares, some in the later dancing pose, but others at rest, with cornucopiœ and patera, resembling the Genius. These latter, perhaps, represent the form of the Lar before Augustus.

^{page 310 note c} See the Numismatic Chronicle (1896), pp. 53–58, and pl. vi.

^{page 310 note d} See Helbig, Wandgemälde, No. 1,502; Museo Borbonico, iv. 49.

^{page 310 note e} Ausonius, Mosella, 163.

^{page 312 note a} For examples of this subject in relief see the sarcophagus in the Mausoleum Annexe at the British Museum; also Robert, Die antiken Sarkophag-Reliefs, ii. plates vi. x.; and Visconti, Museo Pio Clementino, v. 17.

^{page 312 note b} Helbig, Wandgemälde, 1142. Two more examples are recorded by Sogliano. Le Pitture murali compane scoverte negli anni 1867–79, 499 and 500. The Rape of Auge is represented on a Megarian bowl, Gr 103, in Case E in the Fourth Vase Room, British Museum. See Classical Review (1894), p. 326. Cf. Furtwängler, Collection Sabouroff, i. pl. 73.

^{page 312 note c} Wandgemälde, 263, 889–893.

^{page 312 note d} Pitture, 243–425.

^{page 312 note e} Helbig, Wandgemälde, 1374, 1375; Sogliano, Pitture, 597, 598.

^{page 312 note f} 1216–1232.

^{page 312 note g} Nos. 531–537.

^{page 312 note h} See the famous passage in Catullus, lxiv. 52, seqq.

^{page 312 note i} Untersuchungen über die Campanische Wandmalerei, 157.

^{page 312 note j} Pausanias, i. 20, 2. See Helbig, Untersuchungen, 256.

^{page 313 note a} Helbig, Wandgemälde, 218, 219; Sogliano, Pitture, 109, 110.

^{page 313 note b} Metamorphoses, x. 106–142.

^{page 313 note c} Wandgemälde, 1183–1203.

^{page 313 note d} Pitture, 517–519.

^{page 314 note a} See Wandgemälde, 5.

^{page 314 note b} Sogliano, Il supplizio di Dirce, 8, note 1.

^{page 314 note c} As to Pentheus, see Hartwig in the Jahrbuch des Kaiserlich deutschen archäologischen Instituts (1892), 153.

^{page 314 note d} Vol. xvi. 143–157.

^{page 314 note e} Denkmäler des Klassischen Altertums, 766.

^{page 314 note f} III. 61, 62.

^{page 315 note a} It is E 155, in the Third Vase Room, Case G. See Kluegmann, Memorie dell' Instituto di correspondenza archeologica, 2, p. 388, and Raoul-Rochette, Monuments inédits, pl. xl.

^{page 315 note b} See Classical Review, ix. 277.

^{page 315 note c} Op. cit. pl. xlv. p. 179, note 3. Cf. Stephani, Compte-rendu de la Commission Impérials archéologique (1862), 157.

^{page 316 note a} Furtwängler, Beschreibung, 3023.

^{page 316 note b} Visconti, Museo Pio Clementino, v. 19.

^{page 316 note c} Memorie dell' Institute di corrispondenza archeologica, ii. 391, note 2.

^{page 316 note d} Mai, Pict. Ant. tav. xv.

^{page 316 note e} Catalogue of Gems, 68.

^{page 316 note f} Helbig, Wandgemälde, 1206–1208.

^{page 316 note g} Wandgemälde, 1233–40.

^{page 316 note h} Pitture, 538. Cf. the relief on a sarcophagus, Visconti, Museo Pio Clementina, v. 8.

^{page 317 note a} I. 20, 3. See ante, p. 12; and my paper in the Journal of Hellenic Studies, xvi. 143–157.

^{page 317 note b} This contest hetween Pan and Eros, the Theban trio, and the Cyparissus were all discovered in the first five days of November, 1894. See Notizie degli Scavi, December, 1894, p. 406.

^{page 317 note c} Helbig, Wandgemälde, 404, 405.

^{page 317 note d} Pitture, 381. See Monumenti, x. tav. 35; Annali (1876), p. 296.

^{page 317 note e} XVIII. 3.