On Architecture

1. FOR the other apartments, that is, those intended to be used in Spring, Autumn, and Summer, as well as for atriums and peristyles, the ancients required realistic pictures of real things. A picture is, in fact, a representation of a thing which really exists or which can exist: for example, a man, a house, a ship, or anything else from whose definite and actual structure copies resembling it can be taken. Consequently the ancients who introduced polished finishings began by representing different kinds of marble slabs in different positions, and then cornices and blocks of yellow ochre arranged in various ways.

2. Afterwards they made such progress as to represent the forms of buildings, and of columns, and projecting and overhanging pediments; in their open rooms, such as exedrae, on account of the size, they depicted the facades of scenes in the tragic, comic, or satyric style; and their walks, on account of the great length, they decorated with a variety of landscapes, copying the characteristics of definite spots. In these paintings there are harbours, promontories, seashores, rivers, fountains, straits, fanes, groves, mountains, flocks, shepherds; in some places there are also pictures designed in the grand style, with figures of the gods or detailed mythological episodes, or the battles at Troy, or the wanderings of Ulysses, with landscape backgrounds, and other subjects reproduced on similar principles from real life.

3. But those subjects which were copied from actual realities are scorned in these days of bad taste. We now have fresco paintings of monstrosities, rather than truthful representations of definite things. For instance, reeds are put in the place of columns, fluted appendages with curly leaves and volutes, instead of pediments, candelabra supporting representations of shrines, and on top of their pediments numerous tender stalks and volutes growing up from the roots and having human figures senselessly seated upon them; sometimes stalks having only half-length figures, some with human heads, others with the heads of animals.

4. Such things do not exist and cannot exist and never have existed. Hence, it is the new taste that has caused bad judges of poor art to prevail over true artistic excellence. For how is it possible that a reed should really support a roof, or a candelabrum a pediment with its ornaments, or that such a slender, flexible thing as a stalk should support a figure perched upon it, or that roots and stalks should produce now flowers and now half-length figures? Yet when people see these frauds, they find no fault with them but on the contrary are delighted, and do not care whether any of them can exist or not. Their understanding is darkened by decadent critical principles, so that it is not capable of giving

5. For instance, at Tralles, Apaturius of Alabanda designed with skilful hand the scaena of the little theatre which is there called the e)kklhsiasth/rion representing columns in it and statues, Centaurs supporting the architraves, rotundas with round roofs on them, pediments with overhanging returns, and cornices ornamented with lions' heads, which are meant for nothing but the rainwater from the roofs,—and then on top of it all he made an episcaenium in which were painted rotundas, porticoes, half-pediments, and all the different kinds of decoration employed in a roof. The effect of high relief in this scaena was very attractive to all who beheld it, and they were ready to give their approval to the work, when Licymnius the mathematician came forward and said that