In motive and method it was substantially the same work as
that of the Greeks under the Diadochi. The subjects, again, were often
taken from Greek story, though there were Roman historical scenes,
_genre_ pieces, and many portraits.
[Illustration: FIG. 15.--RITUAL SCENE, PALATINE WALL PAINTING. (FROM
WOLTMANN AND WOERMANN.)]
In the beginning of the Empire tablet or panel painting was rather
abandoned in favor of mural decoration. That is to say, figures or
groups were painted in fresco on the wall and then surrounded by
geometrical, floral, or architectural designs to give the effect of a
panel let into the wall. Thus painting assumed a more decorative
nature. Vitruvius says in effect that in the early days nature was
followed in these wall paintings, but later on they became ornate and
overdone, showing many unsupported architectural facades and
impossible decorative framings. This can be traced in the Roman and
Pompeian frescos. There were four kinds of these wall paintings. (1.)
Those that covered all the walls of a room and did away with dado,
frieze, and the like, such as figures with large landscape
backgrounds showing villas and trees.
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