FRE 
of loading and unloading ; but if the em- 
bargo be only for a short limited time, the 
voyage shall be performed when it expires, 
and neither party is liable for damages. If 
the master sail to any other port than that 
agreed on, without necessity, he must sail 
to the port agreed on at his own expense, 
and is also liable for any damages in conse- 
quence thereof. If a ship be taken by the 
enemy, and retaken or ransomed, the char- 
ter-party continues in force. If the master 
transfer the goods from his own ship to 
another, without necessity, and they perish, 
he is responsible for the full value, and all 
charges ; but if his own ship be in immi- 
nent danger, the goods may be put on 
board another ship at the risk of the owner. 
If a ship be freighted out and home, and a 
sum agreed on for the whole voyage, no- 
thing becomes due until the return of such 
ship. If a certain sum be specified for the 
homeward voyage, it is due, although the 
correspondent abroad should have uo goods 
to send home. A ship was freighted to a 
particular port and home, a particular 
freight agreed upon for the homeward voy- 
age, with an option reserved for the corres- 
pondent to decline it, unless the ship ar- 
rived he foie a certain day. The master 
did not go to the port agreed on, and there- 
fore became liable to damages; the obli- 
gation being absolute on his part, and con- 
ditional only on the part of the freighter. 
If the goods be damaged without fault of 
the ship or master, the owner is not obliged 
to receive them and pay the freight; but 
he must either receive or abandon the 
whole, he cannot receive those that are not 
damaged, and reject the others. If the 
goods be damaged through the insufficiency 
of the ship, the master is liable for the 
same ; but if it be owing to stress of wea- 
ther, he is not accountable. If part of the 
goods be thrown overboard, or taken by 
the enemy, the part delivered pays freight. 
The master is accountable for all the goods 
received on board by himself and mariners, 
unless they perish by the act of God, or the 
king’s enemies. The master is not liable 
for leakage of liquors, nor accountable for 
contents of packages, unless packed in his 
presence. 
FRESCO, in painting, ail Italian word 
now universally adopted, signifying paint- 
ings performed on the walls of palaces and 
churches. There cannot be a doubt, that 
this was the original method, in which all 
large subjects were done immediately after 
FRE 
the discovery of the art of expressing forms 
and substances, by th6 judicious disposition 
of different coloured earths diluted with 
water. Savages found in a complete state 
of nature, who knew nothing more than 
her immediate dictates, have been found 
covered with colours, collected, and used 
on their persons by instinct; and some have 
even demonstrated genius, in working the 
beautifid mantles and helmets formed of 
feathers of the most vivid tints : one step 
more would have produced painting on 
walls, but it was reserved for the ancient 
Grecians to enlighten and benefit the world 
by the superior talents they had received 
and cultivated ; it would be vain to enter 
into an investigation when their attempts 
arrived to that state of comparative per- 
fection, which produced the delineation of 
figures on plaster or similar composition ; 
we must, therefore, be satisfied with de- 
scribing some still extant of very great anti- 
quity, and mentioning the modem method 
of using the colours. 
It may reasonably be supposed, that the 
first pictures painted in this way were ex- 
tremely rude, and probably did not consist 
of more than two colours,’ a light one for 
the ground, and a dark for the outlines ; for 
bleeding the tints must have been the re- 
sult of experience, and some degree of 
freedom. This supposition may be illus- 
trated by referring to the valuable vases 
brought from Herculaneum, by the late 
Sir William Hamilton, and now deposited 
in the British Museum ; those, and the paint- 
ings found in the same city, were in all 
probability the performances of Italians, 
but as the art was then evidently in its 
infancy, the Greeks might not have excel- 
led their imitators, indeed painting must 
have been considered by that ingenious 
people as an art inferior to that of sculp- 
ture, which accounts for the superior ex- 
cellence, and earlier improvements, in the 
latter. 
The appendix to the Abbe Barthelemy’s 
travels in Italy contains several curious re- 
marks on Herculaneum, by Count Cayics 
and others, and Du Theil ; the latter sup- 
poses that the destruction of this city hap- 
pened in the year 471. Caylns, on treating 
upon the ancient paintings discovered, ob- 
serves, “ As to their designing, it is dry, 
and hardly ever exceeds the idea of a fine 
statue. The composition is in general cold, 
for the same Reason that the design is dry. 
In fact a figure is not grouped, though it 
