From the end of the atrium a passage, or sometimes two passages, called the _fauces_, running by the side of the tablinum, led to the _peristylium_,[26] which was the grand private reception-room; this also was a court open to the sky in the centre, and among the wealthy Romans its roof was supported by columns of the rarest marbles. Round the peristyle were grouped the various private rooms, which varied according to the size of the house and the taste of the owner. There was always one dining-room (_triclinium_), and frequently two or more, which were arranged with different aspects, for use in different seasons of the year. If several dining-rooms existed, they were of various sizes and decorated with various degrees of magnificence; and a story is told of one of the most luxurious Romans of Cicero's time, that he had simply to tell his slaves which room he would dine in for them to know what kind of banquet he wished to be prepared. In the largest houses there were saloons (_æci_), parlours (_exedræ_), picture galleries (_pinacothecæ_), chapels (_lararia_), and various other apartments. The kitchen, with scullery and bakehouse attached, was generally placed in one angle of the peristyle, round which various sleeping-chambers, according to the size of the house, were arranged. Most of the rooms appear to have been on the ground-floor, and probably depended for their light upon the doorway only; though in some instances at Pompeii small windows exist high up in the walls. [Illustration: FIG. 143.--WALL DECORATION FROM POMPEII.] In the extreme rear of the larger houses there was generally a garden; and in those which were without this, the dead walls in the rear were frequently painted so as to imitate a garden. The houses of the wealthy Romans were decorated with the utmost magnificence: marble columns, mosaic pavements, and charming pieces of sculpture adorned their apartments, and the walls were in all cases richly painted (Fig. 143), being divided into panels, in the centre of which were represented sometimes human figures, sometimes landscapes, and sometimes pictures of historical events. All the decoration of Roman houses was internal only: the largest and most sumptuous mansion had little to distinguish it, next the street, from a comparatively humble abode; and, with the exception of the space required for the vestibule and entrance doorway, nearly the whole of the side of the house next the street was most frequently appropriated to shops. All that we are able to learn of the architecture of Roman private houses, whether from contemporary descriptions or from the uncovered remains of Pompeii and Herculaneum,[27] points to the fact that it, even in a greater measure than the public architecture, was in no sense of indigenous growth, but was simply a copy of Greek arrangement and Greek decoration. FOOTNOTES: [20] The passage in Varro, which is the sole authority for the Basilica Opimia, is generally considered to be corrupt.