323 



SECTION II. 



Note 1. Pa<re 55. 



" Fuit et arborum cura legil)us priscis; cautumqiie pst XII. Tahulis, 

 «t qui injuria cecidisset alienas, lueret in siii<TuIas jcris XXV."— P/«/i. 

 Hist. Nat. L. XVII. 1. 



Note II. Page 56. 



Ts^av&^mv iJ.STa(pvTsvsiv ;— Veterem Arborem transferre v. transplan- 

 tare. — Eras. Adag. p. 419. 



Note III. Page 56. 



It is remarkable, that there is not to be found, in all Homer, anything 

 like picturesque description, although Pope in his translation has abun- 

 dantly supplied the want. On Virgil and the other Roman poets nearly 

 a similar remark may be made : and this defect in ancient poetry (as 

 Twining has well observed, in his Dissertations on the Poetics of Aris- 

 totle), naturally proceeds from a similar defect, in the sister art of 

 painting. 



In Pliny's account of the Greek artists, we find no mention made of a 

 landscape painter among them, nor anything like a landscape itself, in 

 his list of their most celebrated productions. He informs us, however, 

 that a Roman painter, named Ludius, who lived in the reign of Augustus, 

 first struck out the art of painting landscape, which he executed in fresco, 

 in so very pleasing a manner, and at so very moderate an expense, that 

 every body employed him. His subjects, he says, were villas, porticos, 

 gardens, groves, hills, rivers, seaport towns, and the like, and that they 

 were enlivened with human figures in abundance, engaged in all sorts of 

 occupations ; the whole forming a most pleasing representation {blandis- 

 fimo aspectu). Hist. Nat. L. XXXV. 10. 



Twining likewise accurately observes, that landscape painting in Pliny's 



