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 its approval authoritatively and on the principle
of propriety to that which really can exist. The fact is that pictures
which are unlike reality ought not to be approved, and even if they are
technically fine, this is no reason why they should offhand be judged to
be correct, if their subject is lacking in the principles of reality
carried out with no viola