Upon the whole, as this antique city is thrown more and more open to modern light, it proves to be the richest memorial extant of Grecian genius, as represented by an art so different from, and still at the same time so kindred to, sculpture. In most other classic centers, while the form and the purity have survived, the color and the splendor have faded; but here, as chamber after chamber, gallery after gallery is opened, a new beauty of the past appears, freshly vivified by the long-excluded light, and, as we are assured, labyrinths of interest remain yet to be explored. [Sidenote: AN ANCIENT WINE-SHOP.] A wine-shop was lately found at Pompeii, roughly ornamented with imitations of marbles in fresco. Over the podium of the front room runs a band of stucco, with four groups or scenes painted on a white ground. The first, on the left, represents a young man kissing a woman dressed in yellow garments, with black shoes. She says, “Nolo, cym myrta” * * “I don’t want to be kissed; go to your Myrtalis.” The second scene represents, very likely, the same woman talking to Myrtalis, who says, “Non mia, est.” They both point their fingers at a third female, bringing in a great wine-jar and a glass. She says, “Qui vol. symat oceane, veni. bibe,” an invitation to partake of the drink. The third scene represents two gamblers seated, having the chess-board on their knees, on which several latrunculi are seen disposed in rows of different colors, yellow, black, white. The one on the left is just throwing the dice, and says, “Exsi,” “I won.” The other answers, pointing to the dice, “Non tria, duas est,” “You have got two, not three.” Both fight in the fourth scene. One says, “Non it a me, tria, ego, fvi,” “I did not throw two, but three. I have won.” The other answers, “Orte fellator ego fvi,” “You ——! I have the game.” At this moment the shop-keeper comes in, and pushing them outside, says, “Itis, foras, riksatis,” “Go out to quarrel.” XII. VESUVIUS AND ITS ERUPTIONS. THE GREAT ERUPTION OF VESUVIUS.—WHAT IT DID.—THREE CITIES WIPED OUT.—LAVA AND ITS CHARACTER.—GOING TO THE MOUNTAIN.—SKIRMISHING WITH GUIDES AND BEGGARS.—ARCHITECTURAL STEEDS.—A HORSE WITH A HAND RAIL AROUND HIM.—COAT-HOOKS TO LET.—A MOTLEY CROWD.—HOW AN AMERICAN WAS MOUNTED.—A NEW MODE OF SPURRING.—THE ROAD FROM RESINA.—BURNING LAVA.—CROSSING THE LAVA BEDS.—CLIMBING ON FOOT.—HAPS AND MISHAPS.—AN ENGLISHMAN’S ACCIDENT.—LIGHTING A CIGAR AT THE CRATER.—SUFFOCATED BY SULPHUR FUMES.—DOWN AMONG THE ASHES.—A LONG FALL AND SLIDE.—IN HERCULANEUM.—UNDERGROUND BENEATH THE CITY.—“LOOK HERE.”—HOW THE CITY WAS DISCOVERED.—THE ERUPTION OF 1872.—HORRIBLE SCENES.—EXTENT OF THE DESTRUCTION.