In the centre of the pier, at the back, is the aperture to the cistern by which the water used in making bread was supplied. On each side are vessels to hold the water. On the pier above is a painting, divided horizontally into two compartments. The figures in the upper ones are said to represent the worship of the goddess Fornax, the goddess of the oven, which seems to have been deified solely for the advantages which it possessed over the old method of baking on the hearth. Below, two guardian serpents roll towards an altar crowned with a fruit very much like a pine-apple; while above, two little birds are in chase of large flies. These birds, thus placed in a symbolical picture, may be considered, in perfect accordance with the spirit of ancient mythology, as emblems of the genii of the place, employed in driving those troublesome insects from the bread. The oven is on the left. It is made with considerable attention to economy of heat. The real oven is enclosed in a sort of ante-oven, which had an aperture in the top for the smoke to escape. The hole in the side is for the introduction of dough, which was prepared in the adjoining room, and deposited through that hole upon the shovel with which the man in front placed it in the oven. The bread, when baked, was conveyed to cool in a room the other side of the oven, by a similar aperture. Beneath the oven is an ash-pit. To the right is a large room which is conjectured to have been a stable. The jaw-bone above mentioned and some other fragments of a skeleton were found in it. There is a reservoir for water at the further end, which passes through the wall, and is common both to this room and the next, so that it could be filled without going into the stable. The further room is fitted up with stone basins, which seem to have been the kneading-troughs. It contains also a narrow and inconvenient staircase.