[63] In and about the market-place at Pompeii, there are buildings partly repaired, and also preparations for repairing others. So that the consequences of the first catastrophe had by no means been fully removed before the second occurred. [64] These pictures are now in the possession of Sir Matthew White Ridley. They were discovered in 1823, in a vineyard belonging to Signor Santa Amandola, to the right of the Via Appia, near San Sebastiano. The boy with the flute formed the centre of the vault of a Columbarium, and was taken down to preserve it. There were, in the same tomb, some relievos, in stucco, and some painted arabesques, of considerable merit. The Ganymede was found in the same vineyard, as was likewise a fine sarcophagus, which has been published in an archæological journal. [65] See Pliny, Book xxxv., c. 11; and further, see Essay 6. [66] See Essay 5, also see Pliny, Book xxxv. It is curious to observe how M. Durand has twisted this passage to suit his own views. It is only necessary to compare Durand’s paraphrase with the honest translation of old Philemon Holland, to be convinced of the Frenchman’s want of fidelity. Tiraboschi has, without his usual care, adopted Durand’s view of this matter. I think wrongly, for my reasons see Essay 6. [67] See Franklin’s Lucian. In the dialogue, _Zeuxis_, Lucian says, that the original picture of the Centaurs was lost at sea; but that he saw a copy in a picture dealer’s shop, at Athens. It is worth while to refer to Lucian’s dream, for an account of the customs of the sculptors of his day,--the pupils crying casts about the streets, while the masters were labouring themselves. [68] See the French translation, by Blaise de Vigenere, with its singular plates and notes, ten times more bulky than the original work. There is an epigram to each of the plates by D’Embry. [69] Tiraboschi has laboured hard to convince himself and others that Zeuxis was a native of the Italian Heraclea. But I think he fails. Even if he succeeded in establishing his birth-place in Italy, his life was passed in Greece: there he studied and there he painted. His being employed by the Sicilians at Agrigentum, and by some towns in Magna Græcia, only prove their taste for Greek art, not that Zeuxis was an Italian. * * * * *