ROMAN HEAD DRESSES.

THE head dress of the Roman women, as well as their other attire, was different at different periods. At first it was very simple; they seldom went abroad, and when they did, they almost always had their faces veiled. But when riches and luxury increased, dress became with many the chief object of attention; hence a woman's toilet and ornaments were called MUNDUS MULIEBRIS, her world. They anointed their hair with the richest perfumes, and sometimes coloured it of a bright yellow, with a certain wash or composition, but never used powder, which is a very late invention, first introduced in France about the year 1593. The Roman women frizzled or curled their hair with hot irons, and sometimes raised it to a great height by rows and stories of curls, as may be seen in some of the busts in the Towneley Gallery of the British Museum. The slaves who assisted in frizzing and adjusting the hair were called CINIFLONES, and were in danger of punishment if a single lock was improperly placed: the whip was presently applied, or the mirror, which was made of polished metal, was aimed at the head of the offender. A number of females attended, who did nothing but give directions; every woman of fashion had at least one female hair-dresser. The hair was adorned with gold and pearls and precious stones; and some

times with crowns or garlands, and chaplets of flowers, bound with fillets or ribbands of various colours. The head dress and ribbands of matrons differed from those of virgins. Ribbands were peculiar to modest women; and joined with the Stola, they were the badge of matrons. Immodest women used to cover their heads with mitres, which were also worn by men, but were looked upon as effeminate; and what was still more so, coverings for the cheeks tied with bands under the chin. An embroidered net or caul was also used for enclosing the hair behind.

LANDSCAPE PAINTING.

LANDSCAPE, treated separately as a distinct branch of painting, does not seem to have occupied a place in the practice of the arts, among the ancients, before the reign of Augustus, at which time Ludias, according to Pliny, introduced at Rome the custom of decorating interiors, with views of rural scenes. The descriptions which Pliny gives of the paintings of Ludius, leave no doubt respecting the branch which they cultivated, and which included also marine views: maritimas urbes pingere instituit: we must not, however, infer from the words primus instituit, that Ludius was the first who conceived the idea of painting landscapes. According to the evident meaning of the whole

passage, Ludius was only the first who introduced the use of landscape at Rome, for the purposes of decoration on the walls, porticos, vestibules, and even the external parts of buildings.

Many ancient paintings, which are called arabesques, prove that landscape was employed in the compartments of this species of ornament; and the style of the compositions of Ludius, as Pliny describes them, seems to have been here copied in miniature.

But did the Greeks, in the flourishing age of their painting, practice landscape as a separate branch? This is a question which cannot be answered but by conjecture. That they practised in detail, and partially imitated all the objects, of which landscape is composed, cannot be doubted, since these objects were necessary parts in the back grounds of their pictures, and equally indispensable accessaries in their compositions. Yet in the pretty extensive list which Pliny gives of the great painters of Greece and their works, he says nothing which can lead to a suspicion of the existence of the department in question; and there are more reasons than one to induce the belief, that in the most flourishing periods of the art, especially, this branch was unknown or neglected.

We meet also with the same negligence in the first two centuries of the revival of the arts among the moderns; and even at the period when they were at their height, that is, in the sixteenth cen

tury, we do not find that landscape was treated separately.

It was in the Venetian school, that it began to share with historical subjects, the attention of painters, and space in their pictures. The success of landscape depends on the knowledge of the two kinds of perspective, especially of that called aërial; and this latter owed its developement to the schools of the colourists alone: in fact, we find the most beautiful studies of landscape in the historical pic tures of Titian, Bassano, and Tintoret.

It is perhaps in the Netherlands that we must look for the first painters, who made landscape a distinct branch, and applied their talents to it exclusively at the head of these painters we must place Matthew and Paul Brill. The latter died at Rome in 1626. It was really the 17th century which established this branch, and in which it flourished with the greatest splendor. Claude Lorraine, the two Poussins, and Salvator Rosa, who lived in that century, attained the limits of perfection in the various characters which nature presents to the landscape painter.

NICOLO POUSSIN AND SALVATOR ROSA.

AMONG the strolling parties of monks and friars, cardinals, and prelates, Roman princesses, and English peers, Spanish grandees, and French cavaliers, which crowded the Pincio, towards the latter

end of the seventeenth century, there appeared two groups, which may have recalled those of the Portico or the Academy, and which never failed to interest and fix the attention of the beholders. The leader of one of these singular parties was the venerable Nicolo Poussin! The air of antiquity which breathed over all his works seemed to have infected even his person and his features; and his cold, sedate, and passionless countenance, his measured pace and sober deportment, spoke that phlegmatic temperament and regulated feeling, which had led him to study monuments rather than men, and to declare that the result of all his experience was "to teach him to live well with all persons.' Soberly clad, and sagely accompanied by some learned antiquary or pious churchman, and by a few of his deferential disciples, he gave out his trite axioms in measured phrase and emphatic accent, lectured rather than conversed, and appeared like one of the peripatetic teachers of the last days of Athenian pedantry and pretension.

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In striking contrast to these academic figures, which looked like their own grandsires cut in alabaster," appeared, unremittingly, on the Pincio, after sunset, a group of a different stamp and character, led on by one who, in his flashing eye, mobile brow, and rapid movement all fire, feeling, and perception-was the very personification of genius itself. This group consisted of Salvator Rosa, gal