among the Ancients, 513 



3. What we know of them as portrait, 

 LANDSCAPE, COMIC and SATIRICAL paintcrs. 



4. What were the various modes of painting 

 among the ancients with refpeft to the mecha- 

 nical parts of the art. And 



5. What mifcellaneous obfervatipns appear 

 worth noting. 



I apprehend, the notion that the ancients in 

 general had no more than four colours in ufe, 

 for painting, was deduced from a hafty perufal 

 or mifapprehenfion of the paflages quoted in 

 the notes from Ariftotle,* Cicero, f Pliny, J 



* CTEfi xoafxis, cap. 5. Zuy^afia Xevxuv tb xcu /itEXaivaK, 

 &c. Pidtura ex difcordibus pigmentorum coloribus, atris, 

 albis, luteis, ec puniceis, confufione modica temperatis, 

 imagines iis quos imitatur fimiles facit. 



f Similis in piftura ratio eft, in qua Zeuxim, et Polyg- 

 notum, et Timantem, et eorum qui non funt ufi plus 

 quatuor coloribus, formas et lineamenta laudamus : at in 

 .^tione, Nicomacho, Protogene, et Apelle, jam perfefta 

 funt omnia. In Brut. num. 70. 



J Quatuor coloribus folis immortalia ilia ojiera fecere ; 

 .ex albis Melino, ex filaceis Attico, ex rubris Sinopide 

 Pontica, ex nigris Atramento, Apelles, Echion, Melan- 

 thius, Nicomachus, clariflimi piftores, cum Tabulae eorum 

 fingulae, oppidorum venirent opibus. Hift. Nat. lib. XXXV. 

 32. So alfo XXXV. 36. fpeaking of the paintings of 

 Apelles, he fays, Legentes meminerint omnia ea quatuor co- 

 loribus fafta. Thefe paflages are contradictory to the im- 

 plication refpefting Apelles in the preceding quotation 

 from Cicero. 



Vol. III. L 1 Philoftratus, 



