DOI Seite / Zitierlink:
https://doi.org/10.11588/diglit.785#0410
chap, xviii.] THE TYPHON OF THE ETRUSCANS.
305
hands6—make this figure imposing, mysterious, sublime.
In conception, the
artist was the Mi-
chael Angelo of
Etruria.7
On the front of
the pillar is an
Etruscan inscrip-
tion of nine lines,
scratched on the
stucco, now much
injured, but the
proper name of
"Pumpus" is dis-
tinctly visible in
the first line.8
It is obvious at
a glance that the
paintings in this
tomb are of much
later date and higher style of art than those in the
uuuuu
TYPHON, PAINTED ON THE PILLAR.
6 The Greeks introduced Typhons or
Giants into their architecture as At-
lantes, as is proved by statues found of
late years beneath the Theseum at
Athens. Mure's Greece, II. p. 317.
Similar monsters were used by the
Romans in architectural decoration as
Telamones. At Pompeii, in the " Casa
della Camera Nera," are many of them
ainted, supporting the cornice with both
hands, as in this Etruscan tomb.
7 The above woodcut serves to show
the nature of the Typhon, but fails to give
the vigorous design, the Satanic sublimity
of the original painting.
8 This inscription is given by Keller,
mann (Bull. Inst. 1833, No, IV.) and is
VOL. I.
indifferently copied by Orioli (Ann.
Inst. 1834, p. 178), who gives his inter,
pretation of it. On the cornice of the
pillar is a band of wild beasts' heads
painted, and below the Typhons is a
Doric frieze with patera-Uke flowers in
the metopes.
Orioli gives a minute description of
this tomb, which may interest those who
delight in mystic and symbolic inter-
pretation. I will state his notions in
order to give the reader some idea of
the modern Italian school of antiquaries,
of which the Professor is one of the
most distinguished members; though
there are some who do not give so
loose a rein to their fancy. In the
X
305
hands6—make this figure imposing, mysterious, sublime.
In conception, the
artist was the Mi-
chael Angelo of
Etruria.7
On the front of
the pillar is an
Etruscan inscrip-
tion of nine lines,
scratched on the
stucco, now much
injured, but the
proper name of
"Pumpus" is dis-
tinctly visible in
the first line.8
It is obvious at
a glance that the
paintings in this
tomb are of much
later date and higher style of art than those in the
uuuuu
TYPHON, PAINTED ON THE PILLAR.
6 The Greeks introduced Typhons or
Giants into their architecture as At-
lantes, as is proved by statues found of
late years beneath the Theseum at
Athens. Mure's Greece, II. p. 317.
Similar monsters were used by the
Romans in architectural decoration as
Telamones. At Pompeii, in the " Casa
della Camera Nera," are many of them
ainted, supporting the cornice with both
hands, as in this Etruscan tomb.
7 The above woodcut serves to show
the nature of the Typhon, but fails to give
the vigorous design, the Satanic sublimity
of the original painting.
8 This inscription is given by Keller,
mann (Bull. Inst. 1833, No, IV.) and is
VOL. I.
indifferently copied by Orioli (Ann.
Inst. 1834, p. 178), who gives his inter,
pretation of it. On the cornice of the
pillar is a band of wild beasts' heads
painted, and below the Typhons is a
Doric frieze with patera-Uke flowers in
the metopes.
Orioli gives a minute description of
this tomb, which may interest those who
delight in mystic and symbolic inter-
pretation. I will state his notions in
order to give the reader some idea of
the modern Italian school of antiquaries,
of which the Professor is one of the
most distinguished members; though
there are some who do not give so
loose a rein to their fancy. In the
X