Pompeii : its life and art / tr. into English by Francis W. Kelsey ... with numerous illustrations from original drawings and photographs.

  • August Mau
Date:
1902
Catalogue details

Licence: In copyright

Credit: Pompeii : its life and art / tr. into English by Francis W. Kelsey ... with numerous illustrations from original drawings and photographs. Source: Wellcome Collection.

    619/644 (page 543)
    should be preserved to us portraits representing him at periods so entirely different. Susa mosaic: Comptes rendus de I’Academie des Inscriptions et Belles-lettres, serie 4, vol. 24 (Paris, 1896), pp. 578-581 and pi. after p. 580; Gauckler, Les Mosaiques virgiliennes de Sousse, Monuments et M^moires publiees par I’Academie des Inscriptions et Belleslettres, vol. 4 (Fondation Piot, 1897), pp. 233-234; Fowler, Portraits of Virgil, School Review, vol. 6 (1898), pp. 598-605; Archaologischer Anzeiger, Beiblatt zum Jahrb des Inst., vol. 13 (1898), p. 114. Aphrodite and Spes [p. 450]: Mau, Bull, dell’ Inst., 1873, pp. 233-235. Artemis [p. 450J: often reproduced, as Museo. Borb., vol. 2, pi. 8; Roux, Herculanum et Pompei, vol. 6, pi. 76, 77; Brunn and Bruckmann, Denk- maler griechischer und romischer Sculptur, no. 35^- Identification with Artemis Laphria (Pans. VII. xviii. 9) : Studniczka, Die archaische Artemis- statuette aus Pompeii, Rom. Mitth., vol. 3 (1888), pp. 277-302, and pi. 10; COLLIGNON, Histoire de la sculpture grecque, vol. 2 (Paris, 1897), pp. 656-657. Dancing satyr [p. 450] : Museo Borb., vol. 9, pi. 42; Roux, Herculanum et Pompei, vol. 6, pi. 59; Overbeck-Mau, Pompeji, pp. 549-551. Silenus carrying frame with glass vase [p. 451] : Museo Borb., vol. 16, pi. 29; Fiorelli, Gli scavi di Pompei dal 1861 al 1872, p. 159; Overbeck- Mau, Pompeji, p. 552. Listening Dionysus [p. 452] ; Giornale degli scavi di Pompei, 1862, p. 60 and pi. 14; Fiorelli, Gli scavi di Pompei dal 1861 al 1872, pp. 158-159; Benxdorf, Sulla statua Pompeiana creduta di Narcisso, Ann. dell’ Inst., vol. 38 (1866), pp. 107-113 ; Overbeck-Mau, Pompeji, pp. 552-555 ; Hauser, Narcisso, Jahrb. des Inst., vol. 4 (1889), pp. 113-118 ; Collignon, Histoire de la sculpture grecque, vol. 2, pp. 451-453 ; Museo Borb., vol. 16, pi. 28 ; Brunn and Bruckmann, DenkmMer, no. 384. Hauser in the article cited makes it appear probable that the figure had originally a somewhat different pose; the right foot rested flat upon the base, the left only on the heel, so that the body, instead of leaning forward, was slightly bent back. I’he present pose, how- ever, was given to the figure in antiquity; according to G. Patroni, the wedge of lead under the right foot was in its present place when the statuette was discovered. Ephebus of igoo [p. 453] : Not. d. scavi, 1900, pp. 584-587 (7 illustra- tions) ; SoGLiANO, L’efebo in bronzo rinvenuto in Pompei, Mon. dei Lincei, vol. 10 (1901), pp. 641-654, pi. 16-26. This statue is assigned to the Roman period by Waldstein, The Monthly Review, 1901, pp. 125-126, and Peter- sen, Rom. Mitth., vol. 16 (1901), p. 96. CHAPTER LIV. PAINTING. WALL DECORATION Technique of Pompeian painting: Donner, Die erhaltenen antiken Wand- malereien in technischer Beziehung, printed as an introduction to Helbig’s Wandgemiilde (see Chap. LV.), pp. i —cxxvii; Mau, Geschichte der deco- rativen Wandmalerei in Pompeji (Berlin, 1882 ; with atlas of 20 plates).