—— jamjam lapsura cadentique Imminet assimilis—— _Æn._ vi. 602. Effort by a hiatus:— Ter sunt conati imponere Pelio Ossam. Abruptness, or the fall of a heavy body, by a monosyllable:— Insequitur cumulo præruptus aquæ mons. _Æn._ i. 109. —— procumbit humi bos. _Æn._ v. 481. Many other examples might be adduced[581] of that which, if it were an artifice, would be a very pleasing one, which rather proceeds from the natural impulses of a lively fancy and a delicately-attuned ear. Dunlop has well observed, that Virgil’s descriptions are more like landscape-painting than any by his predecessors, whether Greek or Roman, and that it is a remarkable fact that landscape-painting was first introduced in his time. Pliny, in his Natural History,[582] informs us that Ludius, who flourished in the lifetime of Augustus, invented the most delightful style of painting, compositions introducing porticoes, gardens, groves, hills, fish-ponds, rivers, and other pleasing objects, enlivened by carriages, animals, and figures. Thus, perhaps, art inspired poetry. No one has ever attempted to disparage the reputation of Virgil as holding the highest rank amongst Roman poets, except the Emperor Caligula, J. Markland, and the great historian Niebuhr. The latter does not hesitate to say that the flourishing period of Roman poetry ceased about the time of the deaths of Cæsar and Cicero.[583] Doubtless Roman national poetry then ceased, and was succeeded by the new era of Greek taste; but still the poems of the new school were equally majestic and pathetic, and though less natural, owed to their Greek originals incomparably greater polish, grace and sweetness. It is difficult to understand the low opinion which Niebuhr entertained of Virgil, and the superiority which he attributes to Catullus. He not only declares that he is opposed to the adoration with which the later Romans regarded him, but he denies his fertility of genius and inventive powers. Although he acknowledges that the Æneid contains many exquisite passages, he pronounces it a complete failure, an unhappy idea from beginning to end. It is evident that he looked at the Æneid with the eye of an historian, and that his objections to it were entirely of an historical character.