The height of the woodwork varied, of course, with individual taste. In the library on the Esquiline the height was only three feet six inches; at Herculaneum about six feet. I can find no hint of any doors, or curtains, in front of the pigeon-holes. That the ends of the rolls (_frontes_) were visible, is, I think, quite clear from what Cicero says of his own library after the construction of his shelves (_pegmata_); and the various devices for making rolls attractive seem to me to prove that they were intended to be seen. A representation of rolls arranged on the system which I have attempted to describe, occurs on a piece of sculpture (fig. 11) found at Neumagen near Treves in the seventeenth century, among the ruins of a fortified camp attributed to Constantine the Great[87]. Two divisions, full of rolls, are shewn, from which a man, presumably the librarian, is selecting one. The ends of the rolls are furnished with tickets. [Illustration: Fig. 11. A Roman taking down a roll from its place in a library.] The system of pigeon-holes terminated, in all probability, in a cornice. The explorers of Herculaneum depose to the discovery of such an ornament there. The wall-space above the book-cases was decorated with the likenesses of celebrated authors--either philosophers, if the owner of the library wished to bring into prominence his adhesion to one of the fashionable systems--or authors, dead and living, or personal friends. This obvious form of decoration was, in all probability, used at Pergamon[88]; Pollio, as we have seen, introduced it into Rome: and Pliny, who calls it a novelty (_novitium inventum_), deposes to its general adoption[89]. We are not told how these portraits were commonly treated--whether they were busts standing clear of the wall on the book-cases; or bracketed against the wall; or forming part of its decoration, in plaster-work or distemper. A suitable inscription accompanied them. Martial has preserved for us a charming specimen of one of these complimentary stanzas--for such they undoubtedly would be in the case of a contemporary--to be placed beneath his own portrait in a friend's library: Hoc tibi sub nostra breve carmen imagine vivat Quam non obscuris iungis, Avite, viris: _Ille ego sum nulli nugarum laude secundus, Quem non miraris, sed puto, lector, amas. Maiores maiora sonent: mihi parva locuto Sufficit in vestras saepe redire manus_[90]. Placed, with my betters, on your study-wall Let these few lines, Avitus, me recall: _To foremost rank in trifles I was raised; I think men loved me, though they never praised. Let greater poets greater themes profess: My modest lines seek but the hand's caress That tells me, reader, of thy tenderness._