Some of the ornament on the antique Roman bronze and silver work is particularly beautiful and delicate, as may be seen on the silver wine crater found at Hildesheim in Hanover, which is one object of a collection found at that place in the year 1869. These and the treasures found at Pompeii and Herculaneum, together with the wall paintings at the same places, give us a good idea of Roman art in domestic decoration and the minor arts and crafts. [Illustration: Fig. 416.—Nest of Scroll, Roman Panel, Florence.] The Pompeian objects, chiefly in bronze (Fig. 417) and the wall paintings (Figs. 418-20) are as much Greek as Roman in style, as they are chiefly the work of Greek artists executed for the Romans. [Illustration: Fig. 417.—Objects of Art handiwork, from Pompeii.] [Illustration: Fig. 418.—The Goddess Demeter enthroned. Wall painting from Pompeii. (B.)] The Baths of Titus and Diocletian and the palace of the Cæsars on the Palatine Hill, Rome, were decorated with grotesques similar to those of Pompeii, and were studied to great advantage by Raphael and his pupils and assistants when decorating the Loggia of the Vatican. Thin tendrils, festoons of fruit, animals, masks, all kinds of grotesque forms and birds flying and playing in and out of light scrolls, architectural constructions of a light and fantastic character, and panels of landscapes formed the subjects that were painted on the walls, which were often divided into friezes, panels, and dados. These decorations were executed in tempera colours of bright reds, greens, yellows, blues, and black. The antique grotesques, so called from being found on the walls of underground chambers, or “grottos,” together with the figure subjects taken from Greek gems, furnished Raphael and his celebrated pupils Giovanni da Udine (1487-1561) and Perino del Vaga (1500-47) with fanciful ideas for the decoration of the Loggia of the Vatican, and the Villa Madama, at Rome. These _grottesches_ were painted in a kind of fresco or tempera on a white ground with a fairly bright variety of colouring. Some portions of the decorations were executed in stucco relief made of a composition of lime and marble dust, and were sometimes gilded. Giovanni da Udine, or Ricamatore, as he is also called, was especially celebrated at this stucco-work, and in the drawing of animals and birds. He, and another celebrated artist, Primaticco, assisted Raphael’s great pupil Giulio Romano (1492-1546) in a similar kind of decoration at the ducal palace of Mantua. The latter artist executed the principal figure work at Mantua, and also at the Villa Madama. [Illustration: Fig. 419—Pan. Wall Painting at Herculaneum. (B.)] There is no lack of good examples of Italian ornament, especially in carved marble and wood, in the churches and palaces of Italy and France.