The ruins of Pompeii : a series of eighteen photographic views : with an account of the destruction of the city, and a description of the most interesting remains . ural perspectives of fan-tastic buddings, bridges, harbours, temples, porticos, and even wholequarters of toAvus; or of a more rural character, where trees and bushes aremore numerous than the buildmgs. Such views are peopled with figures ofpromenaders, shepherds, fishermen with rods or nets, sadors rowing or sail-ing, sacrificers, travellers in coaches or on donkeys, fowlers, hunters, personsengaged in the vintage, &c. One Ludius
The ruins of Pompeii : a series of eighteen photographic views : with an account of the destruction of the city, and a description of the most interesting remains . ural perspectives of fan-tastic buddings, bridges, harbours, temples, porticos, and even wholequarters of toAvus; or of a more rural character, where trees and bushes aremore numerous than the buildmgs. Such views are peopled with figures ofpromenaders, shepherds, fishermen with rods or nets, sadors rowing or sail-ing, sacrificers, travellers in coaches or on donkeys, fowlers, hunters, personsengaged in the vintage, &c. One Ludius is said to have introduced this sortof wall-painting in the time of Augustus (Plin. N. H., xxxv. 116 sq.) Theannexed cut wdl convey some notion of this sort of picture. A few of suchlandscapes occupy a space of eight or tenfeet square; but theseare very rare , but rarely,such pictures containfigures representmg amj-thological subject,but which are evidentlysubordinate to the land-scape. One of these, forinstance, represents Per-seus delivering Andro-meda from the sea-mon-ster. The figures hereare seen in the sea, inthe foregroimd, whUe. >^Mm^:=^^^m:^ j:23,. FARM-YARD SCENE. behind is a rocky and desolate coast, on which the waves are breaking,and where the aspect of desolation is augmented by several dead trees whichare seen in the middle distance. The third class of painting, which maybe called genre painting, or represen-tations of domestic or famdiar life, must be taken in a very extensive significa-tion, so as to embrace all those objects which cannot be included in the defi-nition either of landscape painting or of mythological and historical pamting. 100 THE RUINS OF POMPEII. The lowest class of pictures of this class are those representing stUl life—asdead game, fish, flowers, fruit, &c; and it may be remarked that the represen-tations of eatables are much more numerous than those of any other ve7iationes, or combats with beasts in the
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Keywords: ., bookauthordyerthomashenry180418, bookcentury1800, bookdecade1860
