Cliap. 6.] THE ANTIQUITY OF PAINTING IN ITALY. 229 



second stage being the employment of single colours; a process 

 known as "monocliromaton," 31 after it had hecome more 

 complicated, and which is still in use at the present day. 

 The invention of line-drawing has been assigned to Philo- 

 cles, the Egyptian, or to Cleanthes 35 of Corinth. The first 

 who practised this line-drawing were Aridices, the Corinthian, 

 and Telephones, tho Sicyonian, artists who, without making 

 use of any colours, shaded the interior of the outline by 

 drawing lines ; ai hence, it was the custom with them to add to 

 the picture the name of tho person represented. Ecphantus, 

 the Corinthian, was the first to employ colours upon these 

 pictures, made, it is said, of broken earthenware, reduced to 

 powder. We shall show on a future 37 occasion, that it was a 

 different artist of the same name*, who, according to Cornelius 

 7s epos, came to Italy withDemaratus, the father of the Itomaii 

 king, Turquinius IViscus, on his flight from Corinth to escape 

 the violence of the tyrant Cypselus. 



CHAP. 0. THE ANTIQUITY OF TAINTING IN ITALY. 



But already, in fact, had the art of painting been perfectly 

 developed in Italy. 3 * At all events, there are extant in the 

 temples at Ardea, at this day, paintings of greater antiquity 

 than Kome itself; in which, in my opinion, nothing is more 

 marvellous, than that they should" have remained so long 

 unprotected by a roof, and yet preserving their freshness. 39 At 

 Lanuvium, too, it is the same, where we sec an Atalanta and a 

 Helena, without drapery, close together, and painted by the 



ture, consisted in tracing the shadow of a human head or some other ob- 

 ject on the wall, the interior bein^ tilled up with one uniform shade of 

 colour. 15. 



34 From (lie Greek ^ovoxpto^iaror, " single colouring.*' It. 



35 He is mentioned also by A thcnagoras, Strabo, and Atherieus. 



34 Called " graphi*," by the Greeks, und somewhat similar, probably, fo 

 our pen and ink uruwinjrs. 



37 In Chapter 43 of this Uook.lJ. 



2fi Ajassoii remarks, that a threat number of paintings have been lately 

 discovered in the Etruscan tombs, in a very perfect state, and probably o'f 

 very high antiquity. IJ. 



ZJ There would appear to be still considerable uncertainty respecting 

 the nature of the materials employed by the ancients, and the manner of 

 applying them, by which they produced these durable paintings; a 

 branch of the art \vLich has not* been attaiued in equal perfection by the 

 moderns. J3. 



