The labourer on the right is using the _asilla_, a wooden yoke or pole, which was carried over the shoulder, with the _corbis_, or basket, suspended at each end. This was a common method of carrying, and is not unfrequently represented on Roman works of art. Several examples might be quoted from the antiquities of Pompeii. Our cut No. 20, from a gem in the Florentine Museum, and illustrating another class of caricature, that of introducing animals performing the actions and duties of men, represents a grasshopper carrying the _asilla_ and the _corbes_. [Illustration: _No. 21. A Painter's Studio._] A private house in Pompeii furnished another example of this style of caricature, which is given in our cut No. 21. It represents the interior of a painter's studio, and is extremely curious on account of the numerous details of his method of operation with which it furnishes us. The painter, who is, like most of the figures in these pigmy caricatures, very scantily clothed, is occupied with the portrait of another, who, by the rather exaggerated fulness of the gathering of his toga, is evidently intended for a dashing and fashionable patrician, though he is seated as bare-legged and bare-breeched as the artist himself. Both are distinguished by a large allowance of nose. The easel here employed resembles greatly the same article now in use, and might belong to the studio of a modern painter. Before it is a small table, probably formed of a slab of stone, which serves for a palette, on which the painter spreads and mixes his colours. To the right a servant, who fills the office of colour-grinder, is seated by the side of a vessel placed over hot coals, and appears to be preparing colours, mixed, according to the directions given in old writers, with punic wax and oil. In the background is seated a student, whose attention is taken from his drawing by what is going on at the other side of the room, where two small personages are entering, who look as if they were amateurs, and who appear to be talking about the portrait. Behind them stands a bird, and when the painting was first uncovered there were two. Mazois, who made the drawing from which our cut is taken, before the original had perished--for it was found in a state of decay--imagined that the birds typified some well-known singers or musicians, but they are, perhaps, merely intended for cranes, birds so generally associated with the pigmies. [Illustration: _No. 22. Part of a Triumphal Procession._]