DOI Page / Citation link:
https://doi.org/10.11588/diglit.61617#0566
THE GRAFFITI
483
on different occasions with the same emperor; it is unlikely that
the three were united to form a single escort.
Graffiti are sometimes useful for the identification of build-
ings ; so in the case of the Basilica and of several inns. The
dated examples throw some light on the age of the stucco on
which they are found. They are for the most part late, and
afford little help in determining the time of commencement of the
various decorative styles ; but in several cases they indicate a later
limit clearly. In this way we learn that the decoration of the
Basilica, in the first style, was finished before October 3, 78 b.c.
— how long before we cannot tell; and that in 37 b.c. the plas-
tering of the Small Theatre was already on the walls, decorated
in the second style. The gladiatorial graffito in the house of
the Centenary (p. 220) proves that the decoration of the room in
which it is found — a late example of the second style — was
finished before November, a.d. 15. A dated inscription of the
reign of Nero is given in the chapter on the house of the Silver
Wedding (p. 299).
Several hundred graffiti present merely the name of the scrib-
bler, sometimes with the addition hie fuit,— ‘was here,’ or sim-
ply hie ; as, Paris hie fuit, Sabinus hie.
A large number contain a greeting, perhaps in some cases
intended for the eye of the person mentioned, as Aemilius For-
tunato fratri saltitem, — ‘ Aemilius greets his brother Fortunatus.’
In this as in other examples it is interesting to note that one
brother is designated by the gens name, the other by the cogno-
men. Sometimes the greeting is the reverse of cordial, as in this
instance : Samius Cornelio, suspenders, — ‘Samius to Cornelius :
go hang yourself.’ Hardly less naive is the message to a friend
who has died : Pyrrhus Chio conlegae sal\utem\ : molests fero,
quod audivi te mortuom; itaq\ue\ vale, — ‘ Byrrhus to his
chum Chius: I’m sorry to hear that you are dead; and so,
Good-by.’
The most prominent theme of the graffiti is love, which is
constantly reappearing, in prose scribblings and in snatches of
verse. The verse form is usually the elegiac distich. Some of
the lines are taken from the poets; others were made up for the
occasion, and not a few couplets were adapted from quotations,
483
on different occasions with the same emperor; it is unlikely that
the three were united to form a single escort.
Graffiti are sometimes useful for the identification of build-
ings ; so in the case of the Basilica and of several inns. The
dated examples throw some light on the age of the stucco on
which they are found. They are for the most part late, and
afford little help in determining the time of commencement of the
various decorative styles ; but in several cases they indicate a later
limit clearly. In this way we learn that the decoration of the
Basilica, in the first style, was finished before October 3, 78 b.c.
— how long before we cannot tell; and that in 37 b.c. the plas-
tering of the Small Theatre was already on the walls, decorated
in the second style. The gladiatorial graffito in the house of
the Centenary (p. 220) proves that the decoration of the room in
which it is found — a late example of the second style — was
finished before November, a.d. 15. A dated inscription of the
reign of Nero is given in the chapter on the house of the Silver
Wedding (p. 299).
Several hundred graffiti present merely the name of the scrib-
bler, sometimes with the addition hie fuit,— ‘was here,’ or sim-
ply hie ; as, Paris hie fuit, Sabinus hie.
A large number contain a greeting, perhaps in some cases
intended for the eye of the person mentioned, as Aemilius For-
tunato fratri saltitem, — ‘ Aemilius greets his brother Fortunatus.’
In this as in other examples it is interesting to note that one
brother is designated by the gens name, the other by the cogno-
men. Sometimes the greeting is the reverse of cordial, as in this
instance : Samius Cornelio, suspenders, — ‘Samius to Cornelius :
go hang yourself.’ Hardly less naive is the message to a friend
who has died : Pyrrhus Chio conlegae sal\utem\ : molests fero,
quod audivi te mortuom; itaq\ue\ vale, — ‘ Byrrhus to his
chum Chius: I’m sorry to hear that you are dead; and so,
Good-by.’
The most prominent theme of the graffiti is love, which is
constantly reappearing, in prose scribblings and in snatches of
verse. The verse form is usually the elegiac distich. Some of
the lines are taken from the poets; others were made up for the
occasion, and not a few couplets were adapted from quotations,