170 POMPEIANA.
of Its peristyle, or inner area. The middle of
the three doors seen at the farther end is of the
passage connecting this with the first court,
where was the entrance from the street seen on
the left. Into the same street was also a' way
through a room, upon the wall of which the
spectator is supposed to stand. Castel-a-mare
and the island Rivegliano are seen in the di-
stance, bounded by Mount Lactarius, ending to
the right in the promontory of Minerva.
The tiled covering upon these walls is modern, for
the purpose of preserving them.
PLATE XXIV.
This probably represents a scene in a play. The
artist seems to have possessed considerable know-
ledge of perspective, and has also displayed some
acquaintance with architectural composition; but
the whole is too precisely represented in the
engraving. In the original, all the ornamented
parts are undetermined in form, though not in
character: the figures, also, are sketches. The
border is from a room; the ground yellow, flowers
alternately green and red.
of Its peristyle, or inner area. The middle of
the three doors seen at the farther end is of the
passage connecting this with the first court,
where was the entrance from the street seen on
the left. Into the same street was also a' way
through a room, upon the wall of which the
spectator is supposed to stand. Castel-a-mare
and the island Rivegliano are seen in the di-
stance, bounded by Mount Lactarius, ending to
the right in the promontory of Minerva.
The tiled covering upon these walls is modern, for
the purpose of preserving them.
PLATE XXIV.
This probably represents a scene in a play. The
artist seems to have possessed considerable know-
ledge of perspective, and has also displayed some
acquaintance with architectural composition; but
the whole is too precisely represented in the
engraving. In the original, all the ornamented
parts are undetermined in form, though not in
character: the figures, also, are sketches. The
border is from a room; the ground yellow, flowers
alternately green and red.