Non fraudando et Studio divi Augusti aetate, qui primus instituit amoenissimam parietum picturam, villas et porticus (portus?) ac topiaria opera, lucos, nemora, colles, piscinas, euripos, amnes, litora, qualia quis optaret, varias ibi obambulantium species aut navigantium terraque villas adeuntium asellis aut vehiculis, iam piscantes, aucupantes aut venantes aut etiam vindemiantes. Sunt in eius exemplaribus nobiles palustri accessu villae, succollatis sponsione mulieribus labantes trepidis quae feruntur, plurimae praeterea tales argutiae facetissimi salis. Idem subdialibus maritimas urbes pingere instituit, blandissimo aspectu minimoque inpendio.
(Pliny, NH xxxv, 116–17)
Studius too, of the period of the Divine Augustus, must not be cheated of his due. He first introduced the most attractive fashion of painting walls with villas, porticoes (harbours?), and landscape gardens, groves, woods, hills, fish-pools, canals, rivers, coasts—whatever one could wish, and in them various representations of people strolling about, people sailing, people travelling overland to villas on donkey back or in carriages, and in addition people fishing, fowling, hunting, or even gathering the vintage. His pictures include noble villas reached across marshes, men tottering along with women, trembling burdens, on their shoulders, carried for a wager, and very many such lively and witty subjects besides. It was the same man who introduced the practice of painting seaside cities in open terraces, producing a charming effect with minimal expense.