These remains consist, first, of the delineations upon vases, improperly called Etruscan, where the pictorial representations are monochromatic shadows and outline, or monograms, executed with the _cestrum_, or style, in black, upon a red or yellow ground, or sometimes the order of the colors is reversed. Even these support the views just stated; for, vigorous as are the lines, the representation, on the whole, is inferior to the abstract perception of the beautiful in form, as exhibited in the vases themselves. The second division of remains are the frescos, or stucco paintings of Herculaneum, Pompeii, Stabia near Naples, and those in the baths of Titus at Rome. The former were doubtless executed by itinerant Greek painters, who are known to have been very numerous under the empire. The latter were most probably the performance of the best artists that could be procured; yet we do not discover an intrinsic difference of style which can bear against our general conclusion, or rather the similarity proves the fact, while in Herculaneum every sculptured ornament is infinitely more elegant than the paintings found in the same spot. To these might be added some very imperfect sepulchral remains, found near Tarquinia, which merely prove that the ancient Etruscans were far from ignorant of painting. In the pictures at Naples and Rome, is greater variety of coloring than, from some passages in their writings, has been allowed to the ancients. And, indeed, unless Pliny be supposed to point out a distinction in this respect between the practice of the earlier and later painters, he contradicts himself; for in all, he enumerates no less than five different whites, three yellows, nine reds or purples, two blues, one of which is indigo, two greens, and one black, which also appears to be a generic expression, including bitumen, charcoal, ivory, or lamp-black, mentioned with probably others.
Occasional allusion has been made to the mechanical modes of operation employed in ancient painting. On comparing the different passages allusive to these, two things certainly appear: that a permanency was given to its productions unknown even in modern art; and that oil-painting, properly so termed, formed no part of its practice. Laying aside, then, all conflicting opinions, we are disposed to infer that there were three principal methods; first, Distemper employed on stuccoed walls, and for pictures not moveable; second, Glazing, when the picture, after being furnished in water-colours, crayons, or distemper, was covered with a coat of hard and transparent varnish, of which several kinds are described; and thirdly, Encaustic, when the coloring matters actually incorporated with wax, or preparations of wax, were thus applied in a liquid state, and when finished, allowed to dry, and most likely afterwards varnished also. In these two latter methods were executed the most excellent pictures of the great masters, and which were portable. The last has given rise to much needless discussion, as if resembling enamel, the colors being burnt in. We apprehend, however, the Greek and Latin verb here used, merely denotes that the tints were laid on hot, which, from their nature, must have been absolutely necessary, while it is evident, from scattered hints, that the material painted upon was destructible by fire.