. Pompeii : its life and art . ecrime the young man who, with a wreath on his head and asword, pointed downward, in his right hand, bends over thehind just slain as a sacrifice. The colors are subdued and effec-tive ; the painting from the technical point of view is amongthe best found at Pompeii. Around the painting are narrow black stripes separated bywhite lines; in the broader stripe underneath, between thecolumns, are two light blue birds upon a dull red ground. Thesmall squares in the flat cornice above are of many colors,shades of green, pink, and brown predominating. The broadpanels on
. Pompeii : its life and art . ecrime the young man who, with a wreath on his head and asword, pointed downward, in his right hand, bends over thehind just slain as a sacrifice. The colors are subdued and effec-tive ; the painting from the technical point of view is amongthe best found at Pompeii. Around the painting are narrow black stripes separated bywhite lines; in the broader stripe underneath, between thecolumns, are two light blue birds upon a dull red ground. Thesmall squares in the flat cornice above are of many colors,shades of green, pink, and brown predominating. The broadpanels on either side of the painting are of the color oftencalled Pompeian red ; they have an ornamented border, and asmall winged figure in the centre. The stripe below theseshows vases and other ornaments on an orange-yellow ground ;that above, interrupted by the cornice over the painting, is black,with various ornaments, as baskets of fruit, sistrums, and geese,painted in neutral colors. Among the ornaments of the upper 456 POMPEII. Fig. 252. — Specimen of wall decoration. Third or Ornate the house of Spurius Mesor. part of the wall, festoons of leaves, vines, vases, parrots, andgriffins can be distinguished, painted in light shades of brown,blue, green, and yellow. The effect of the Ornate Style, with its symmetrical formsand variety of detail, is pleasing; but the free use of neutral WALL DECORATION 457 tones gives the walls a somewhat cold and formal appearancewhen we bring into contrast the warm coloring of the next, period. The fourth or Intricate Style first appears about the middle, of the first century It started, as did the third, with the! symmetrical division of the wall developed in the second style ;i it differs from the third in that it always retained a sense ofi architectural form. The columns are often fluted, as in a speci-men in the Naples Museum (Fig. 253). The entablatures andcoffered ceilings, light and airy as they often seem, have never-thel
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