in 
Literature and Art 
27 
Wlletl we compare thefe words with the pieture, we cannot but feel that 
in the latter there is an unneceiiary degree of energy put into the pqfk 
of the figures; which is perhaps lefs the cafe in the other (N0. I4), an 
illuitration of the f1xth fcene of the fifth aft of the Adelphi of Terence. It 
reprefents the meeting of Geta, a rather talkative and conceited fervant, 
and Dernea, a countryfied and churlifh old man, his acquaintance, and of 
courfe fnperior. To Geta's falutation, Demea afks churli{hly, as not at 
firtt knowing him, "'Who are you P" but when he finds that it is Geta, 
he changes fuddenly to an almoft fawning tone  
G.  ecrum Demeam. Sal-vusfies. 
I). 011, qui ruacare .7 G. Gem. D. Geta, lzaminem maximi 
Pretii {[2 tn lzadie judicmvi animo mei, 
That thefe reprefentations are truthful, the fcenes in the wall-paintings 
of Pompeii leave us no room to doubt. One of thefe is produced in Our 
cut N0. I5, which is no doubt taken from a comedy now loll, and we 
V  A H 
 [M 'rl'WnWH' In 
WA  4FM;llli In  
 "  1 
My  W6 W i 
    1'    ' 
1VM3h!Ml'  Mull. YI1 I1 
"M 1,111? Q  
No. 15. Comic Stmefram Pompeii. 
are ignorant whom the charaiiers are intended to reprefent. The pqfe 
given to the two comic figures, compared with the example given from 
Berger,