The galleries which are formed in one side of this ravine lead round the cliff into another valley, somewhat broader, in which are also several excavated tombs. In one of these, which has been furnished with a Doric portico, Mr. Campbell discovered the suite of beautiful little subjects which we have given with all the fidelity we could command in the plate (page 456). They are painted on the zophorus of an interior façade, of which we have given the elevation; and each composition occupies one of the metopes, the pannel of which appears to have been left plain in order to set off the colours of the figures. The outline of these highly finished little groups has been very carefully put in with red: the local colour of the flesh and draperies have then been filled in with body colour, and the lights touched on sharp, with a full and free pencil, which reminded us strongly of the beautiful execution of the paintings at Herculaneum and Pompeii. There is no other attempt at light and shadow in any of them but that of deepening the local colour of the drapery in two or three places, where the folds are intended to be more strongly marked than in others; the flesh being left (so far as can at present be ascertained) with no variation of the local colour produced either by light or shade. The colours employed are simply red, blue, and yellow; but whatever may be their nature they still are brilliant in the extreme, and appear to have stood remarkably well. There seem to have been two reds used in these pictures, (for so we may call the several groups in question,) one a transparent colour resembling madder lake, the other like that colour with a mixture of vermilion or of some other bright, opaque red. These colours appear so rich and brilliant, when sprinkled with water[14], that one would imagine they had been passed over gold leaf, or some similar substance, as we observe to have been the case in pictures of Giotto and Cimabue, as well as in the earlier works of the Venetian and other schools. We are not, however, of opinion that this practice was adopted in the paintings now before us, although the brilliancy of their colours would suggest the employment of some such expedient. The yellow appears equally to have been of two kinds; an orange colour was first used to fill in the outline, and the lights were touched on with a brighter yellow over it; the whole together presenting that golden, sunny hue, so delightful to the eye both in nature and art. The same process seems to have been adopted with respect to the blues; but the lights, in this instance, appear rather to have been made by a mixture of white with the local colour than by a second blue of a lighter shade.