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.