XX NOTES. 



authenticity of the description of the paintings in the ancient Neapolitan 

 Pinacothek (Jacobs, p. xvii. and xlvi. ; Welcker, p. Iv. and xlvi.). Otfried 

 M tiller supposes that Philostratus's picture of the islands (ii. 1 7), as well as 

 that of the marsh district (i. 9), of the Bosphorus, and of the fishermen (i. 12 

 and 13), had much resemblance in their manner of representation to the mosaic 

 of Palestrina. Plato, in the introductory part of Critias (p. 107), mentions 

 landscape painting as representing mountains, rivers, and forests. 



( 109 ) p. 76. Particularly through Agatharcus, or at least according to the 

 rules laid down by him. Aristot. Poet. iv. 16 ; Vitruv. Lib. v. cap. 7, Lib. 

 vii. in Praef. (ed. Alois Maxinius, 1836, T. i. p. 292, T. ii. p. 56) ; compare 

 Letronne's work, before cited, p. 271280. 



( ll ) p. 76. On " Objects of Rhopographia," vide Welcker ad Philostr. 

 Imag. p. 397. 



( 1U ) p. 76. Vitrav. Lib. vii. cap. 5 (T. ii. p. 91). 



( 1K ) p. 76. Hirt, Gesch. der bildenden Kiinste bei den Alten, 1833, S. 

 332 ; Letronne, p. 262 and 468. 



( 1I3 ) p. 76. Ludius qui primus (?) instituit amoenissimam parietum pictu- 

 ram (Plin. xxxv. 10). The topiaria opera of Pliny, and varietates topiorum 

 of Vitruvius, were small landscape decorative paintings. The passage of 

 Kalidasa is in the 6th act of Sacontala. 



( m ) p. 77. Otfried Miiller, Archaologie der Kunst, 1830, S. 609. Having 

 before spoken in the text of the paintings found in Pompeii and Herculaneum 

 as being but little allied to nature in her freedom, I must here notice some 

 exceptions, which may be considered strictly as landscapes in the modern 

 sense of the word. See Pitture d' Ercolano, Vol. ii. tab. 45, Vol. iii. tab. 

 53 ; and, as backgrounds in charming historical compositions, tab. 61,62, and 

 03, Vol. iv. I do not refer to the remarkable representation in the Monumenti 

 dell' Institute di Corrispondenza Archeologica, Vol. iii. tab. 9, because its 

 genuine antiquity is considered doubtful by an archaeologist of much acumen, 

 Raoul Rochette. 



( 115 ) p. 77. Against the supposition maintained by Du Theil (Voyage en 

 Italic, par 1'Abbe Barthelemy, p. 284) of Pompeii having still existed in 

 splendour under Adrian, and not having been completely destroyed until the 

 end of the fifth century, see Adolph von Hoff, Geschichte der Veranderungen 

 der Erdoberflache, Th. ii. 1824, S. 195199. 



O 16 ) p. 78. See Waagen, Kunstwerke und Kiinstler in England und Paris, 

 Th. iii. 1839, S. 195201; and particularly S. 217224, where he describes 

 the celebrated Psalter of the Paris Bibliotheque (of the tenth century), which 



