OF PART THE SECOND. 
preserved upon the ierra-cottas of Nola in the 
South of Italy ; and, to add to the value of 
this curious mythological document, the Greek 
names of all the assembled Deities are inscribed 
above their heads, in very legible characters. 
The style of painting upon those vases varies 
so considerably, that almost every branch of 
the art known to the Greeks may be observed 
upon them ; from the most antient specimens of 
the style called monochromatic hYVLi^Y\ where 
the figures were delineated only as shadows, by 
a black colour traced upon a rec^ ground ; down 
to the period in which more elaborate designs, 
in the monochromatic style, were represented by 
an outline of the liveliest vermilion'^ upon a 
surface which is perfectly white. This last style 
of painting differs from every other, in one 
lamentable character ; that, instead of sustaining 
(1) " Secundam singulis coloribus, et monochromaton dictam," &c. 
{Plinio, lib. XXXV. Hist. Nat. torn. III. p. 417. L. Bat.\Go5.) "Auto- 
ritatem colori fuisse non miror : jam eniin Trojanis temporibus rubrica 
in bonore erat, Homero teste, qui naveis ea commendat, alias circa picturas 
pigmentaque rarus (nc). Milton vocant Graeci uiinium, quidam cinnabari : 
""..... Neque alius est color, qui in picturis proprie san^^uinem reddat : 
..... Cinnabari veteres, quae etiam nunc vocant monchromata pin- 
gebant." Ibid. lib. xxxiii. p. 357. 
(2) Murice tincta,- the ^»/n| of the Greeks. In more than one in- 
stance, regal robes are represented, upon the .Athenian tetra-cottat, of a 
vermilion colour. 
