In another place[136] there is an oil-mill; in a third, supposed to have been a prison, stocks were found; and in a fourth were pieces of armour, whence it has been called the Guard-room. In this quarter of the city a bronze helmet was found, enriched with bas-reliefs, relating to the principal events of the capture of Troy. Another helmet found represents the Triumph of Rome; greaves of bronze, highly ornamented, also were found. Contiguous to the little theatre, the house of a sculptor has been cleared. There were found statues; some half finished; others just begun: with blocks of marble, and all the tools required by the sculptor. The walls, in the interior of the buildings, are generally adorned with fresco paintings, the colours of which are in a state of perfect preservation, and have all the freshness of recent finishing. The shells, also, which decorate some of the public fountains, have sustained no injury from the lapse of ages, or the volcanic products in which they were buried. During the progress of excavation,[137] at Pompeii, a painting was found in the Casa Carolina, which scarcely held together to be copied, and fell to pieces upon the first rain. It was of grotesque character, and represented a pigmy painter, whose only covering was a tunic. He is at work upon the portrait of another pigmy, clothed in a manner to indicate a person of distinction. The artist is sitting opposite to his sitter, at an awful distance from the picture, which is placed under an easel, similar in construction to ours. By the side of the artist stands his palette, which is a little table with four feet, and by it is a pot to wash his pencils in. He therefore was working with gum, or some sort of water-colours: but he did not confine himself to this branch of the arts; for to the right we see his colour-grinder, who prepares, in a vessel placed over some hot coals, colours mixed with wax and oil. Two amateurs enter the studio, and appear to be conversing with respect to the picture. On the noise occasioned by their entrance, a scholar, seated in the distance, turns round to look at them. It is difficult to explain the presence of the bird in the painting-room. The picture is not complete: a second bird, and, at the opposite side, a child playing with a dog, had perished before Mazois (an artist who has preserved some of the most valuable remains at Pompeii) copied it. This picture is very curious, since it shows how few things, in the mechanical practice of painting, have changed during two thousand years. There is another picture[138] preserved at Pompeii, representing a female, employed in making a copy of a bearded Bacchus. She is dressed in a light green tunic, without sleeves, over which she wears a dark red mantle. Beside her is a box, such, as we are told by Varro, as painters used, divided into compartments, into which she dips her brush.