had their præcones, or criers, who not only had their public duties, but announced the times, places, and conditions of sales, and cried things lost. Hawkers cried their own goods. Thus Cicero speaks of one who cried figs, Cauneas clamitabat (De Divin. ii. 40). But the Romans also advertised, in a stricter sense of the term, by writing. The bills were called libelli, and were used for advertising sales of estates, for absconded debtors, and for things lost or found. The advertisements were often written on tablets (tabellæ), which were affixed to pillars (pilæ columnæ). On the walls of Pompeii have been discovered various advertisements. There will be a dedication or formal opening of certain baths. The company attending are promised slaughter of wild beasts, athletic games, perfumed sprinkling, and awnings to keep off the sun (venatia, athletæ, sparsiones, vela).1 One other mode of public announcement employed by the Romans should be mentioned, and that was by signs suspended or painted on the wall. Thus a suspended shield served as the sign of a tavern (Quintil. vi. 3), and nuisances were prohibited by the painting of two sacred serpents. Among the French, advertising appears to have become very general towards the close of the sixteenth century. In particular, placards attacking private character had, in consequence of the religious wars, become so numerous and outrageous, that subsequently, in 1652, the Government found it necessary to interpose for their repression.2
Speaking of the signs of Herculaneum and Pompeii, the “History of Signboards” says that a few were painted, but, as a rule, they appear to have been made of stone, or terra cotta relievo, and set into the pilasters at the sides of the open shop fronts. Thus there have been found a goat, the sign of a dairy, and a mule driving a mill, the sign of a baker. At the door of a school was the highly suggestive and not particularly pleasant sign to pupils of a boy being birched. Like to our own signs of two brewers carrying a tun slung on a pole, a Pompeian publican had two slaves represented above his door carrying an amphora, and another dispenser of drink had a painting of Bacchus pressing a bunch of grapes.