The Last Days of Pompeii
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Pages (PDF): 468
Publication Date: 1834
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Inspired by the painting The Last Day of Pompeii by the Russian painter Karl Briullov, this book contrasts the decadent culture of 1st-century Rome with both older cultures and coming trends, and culminates in the cataclysmic destruction of the city of Pompeii by the eruption of Mount Vesuvius in AD 79.
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HO, Diomed, well met! Do you sup with Glaucus to-night?’ said a young man of small stature, who wore his tunic in those loose and effeminate folds which proved him to be a gentleman and a coxcomb.
‘Alas, no! dear Clodius; he has not invited me,’ replied Diomed, a man of portly frame and of middle age. ‘By Pollux, a scurvy trick! for they say his suppers are the best in Pompeii’.
‘Pretty well — though there is never enough of wine for me. It is not the old Greek blood that flows in his veins, for he pretends that wine makes him dull the next morning.’
‘There may be another reason for that thrift,’ said Diomed, raising his brows. ‘With all his conceit and extravagance he is not so rich, I fancy, as he affects to be, and perhaps loves to save his amphorae better than his wit.’
‘An additional reason for supping with him while the sesterces last. Next year, Diomed, we must find another Glaucus.’
‘He is fond of the dice, too, I hear.’
‘He is fond of every pleasure; and while he likes the pleasure of giving suppers, we are all fond of him.’
‘Ha, ha, Clodius, that is well said! Have you ever seen my wine-cellars, by-the-by?’
‘I think not, my good Diomed.’
‘Well, you must sup with me some evening; I have tolerable muraenae in my reservoir, and I ask Pansa the aedile to meet you.’
‘O, no state with me! — Persicos odi apparatus, I am easily contented. Well, the day wanes; I am for the baths — and you . . . ’
‘To the quaestor — business of state — afterwards to the temple of Isis. Vale!’
‘An ostentatious, bustling, ill-bred fellow,’ muttered Clodius to himself, as he sauntered slowly away. ‘He thinks with his feasts and his wine-cellars to make us forget that he is the son of a freedman — and so we will, when we do him the honour of winning his money; these rich plebeians are a harvest for us spendthrift nobles.’
Thus soliloquising, Clodius arrived in the Via Domitiana, which was crowded with passengers and chariots, and exhibited all that gay and animated exuberance of life and motion which we find at this day in the streets of Naples.
The bells of the cars as they rapidly glided by each other jingled merrily on the ear, and Clodius with smiles or nods claimed familiar acquaintance with whatever equipage was most elegant or fantastic: in fact, no idler was better known in Pompeii.
‘What, Clodius! and how have you slept on your good fortune?’ cried, in a pleasant and musical voice, a young man, in a chariot of the most fastidious and graceful fashion. Upon its surface of bronze were elaborately wrought, in the still exquisite workmanship of Greece, reliefs of the Olympian games; the two horses that drew the car were of the rarest breed of Parthia; their slender limbs seemed to disdain the ground and court the air, and yet at the slightest touch of the charioteer, who stood behind the young owner of the equipage, they paused motionless, as if suddenly transformed into stone — lifeless, but lifelike, as one of the breathing wonders of Praxiteles. The owner himself was of that slender and beautiful symmetry from which the sculptors of Athens drew their models; his Grecian origin betrayed itself in his light but clustering locks, and the perfect harmony of his features. He wore no toga, which in the time of the emperors had indeed ceased to be the general distinction of the Romans, and was especially ridiculed by the pretenders to fashion; but his tunic glowed in the richest hues of the Tyrian dye, and the fibulae, or buckles, by which it was fastened, sparkled with emeralds: around his neck was a chain of gold, which in the middle of his breast twisted itself into the form of a serpent’s head, from the mouth of which hung pendent a large signet ring of elaborate and most exquisite workmanship; the sleeves of the tunic were loose, and fringed at the hand with gold: and across the waist a girdle wrought in arabesque designs, and of the same material as the fringe, served in lieu of pockets for the receptacle of the handkerchief and the purse, the stilus and the tablets.
‘My dear Glaucus!’ said Clodius, ‘I rejoice to see that your losses have so little affected your mien. Why, you seem as if you had been inspired by Apollo, and your face shines with happiness like a glory; any one might take you for the winner, and me for the loser.’
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