inted in
the most brilliant and endless variety of colors, in compartments
simply tinted with a light ground, surrounded by an ornamental margin,
and sometimes embellished with a single figure or subject in the
center, or at equal distances. These paintings are very frequently
historical or mythological, but embrace every variety of subject, some
of the most exquisite beauty. Landscape painting was never a favorite
with the ancients, and if ever introduced in a painting, was
subordinate. The end and aim of painting among the ancients was to
represent and illustrate the myths of the gods, the deeds of heroes,
and important historical events, hence giving all prominence to the
delineation of the human form. Landscape, on the other hand,
illustrated nothing, represented no important event deserving of
record, and was thus totally without significance in a Grecian temple
or pinacotheca. In an age of decline, as at Pompeii, it was employed
for mere decorative purposes. Many architectural subjects are
continually found in which it is easy to trace the true principles of
perspective, but they are rather indicated than minutely expressed or
accurately displayed; whereas in most instances a total want of the
knowledge of this art is but too evident. Greek artists seem to have
been employed; indeed, native painters were few, while the former
everywhere abounded, and their superiority in design must have always
insured them the preference.

The subjects of Roman mural paintings are usually Greek myths; in the
composition and style we see Greek conception, modified by Roman
influence. The style of drawing is rather dexterous than masterly;
rapidity of execution seems to be more prized than faithful,
conscientious representation of the truth of nature; the drawing is
generally careless, and effects are sometimes produced by tricks and
expedients, which belong rather to scene-painting than to the higher
branches of art. It must not, however, be forgotten that the majority
of these pictures were architectural decorations, not meant to be
regarded as independent compositions, but as parts of larger
compositions, in which they were inserted as in a frame. As examples
of ancient coloring they are of the highest interest, and much may be
learnt from them in reference to the technical materials and processes
employed by ancient artists.

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SCULPTURING.

We do not intend to enter here on the history of scu