What divinity thus became the host of the Roman gods? It would be
impossible to say but for the fortunate recovery of an Oscan
inscription, which was set up in the passage of the Stabian Gate. This
commemorates the work of two aediles, M. Sittius and N. Pontius, who
improved the street leading out from the Stabian Gate 'as far as the
Stabian Bridge, and the Via Pompeiana as far as the temple of Zeus
Milichius; these streets, as well as the Via Jovia (and another, the
name of which cannot be made out) they placed in perfect repair.'
It is natural to suppose that the Via Pompeiana, mentioned in
immediate connection with the road leading to Stabiae, was the
continuation of the latter within the city, or Stabian Street. This,
then, led to the temple named in the inscription, and as there is no
other temple on the street, the small sanctuary in which the images of
the Capitoline divinities were placed was the temple of Zeus
Milichius.
This building, however, is not old enough to have been mentioned in an
Oscan inscription. It probably stands in the place of a much earlier
edifice. The masonry of the wall on the south side of the court is
different from that of the other walls, and older; as it shows no
trace of a cross wall, it must always have stood at the side of an
open space, such as that of the present court. To the earlier building
the capitals belong, the style of which, as remarked above, is
pre-Roman.
In view of this explanation, we should probably recognize in the head
carved on the smallest of the pilaster capitals (Fig. 85) a
representation of Zeus Milichius, a divinity honored in many parts of
Greece, especially by the farmers; Zeus the Gracious, the patron of
tillers of the soil. The serious, kindly face, bearded and with long
locks, was more than a mere ornament; it was the god himself looking
down upon the worshipper who entered his sanctuary. As a
representation of Zeus it probably exemplifies an ancient type.
CHAPTER XXVII
_THE BATHS AT POMPEII.--THE STABIAN BATHS_
Public-domain text, read in full here on John Shaqi.
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