DOI Seite / Zitierlink:
https://doi.org/10.11588/diglit.9177#0213
XII
GREEK PAINTING
193
contemporary paintings. We are told that Pheidias worked at
painting when young, and his brother Panaenus was a painter.
Professor Benndorf has made out a good case for seeing in some
of the reliefs of the tomb of Trysa1 an echo of the paintings of
Polygnotus and other Attic painters; but we cannot insist
strongly on this line of influence, as its grounds are largely
mixed with hypothesis and conjecture, in the absence of the
paintings supposed to be copied.
Let us however return to the question of the relations
of vase-paintings to great works in fresco. We may best
bring this question to a definite issue by discussing a vase-
painting which has by good authorities been thus con-
nected.
Pausanias thus describes a painting by Micon in the Ana-
keion at Athens :2 "The painting on the third wall is not intel-
ligible without interpretation, partly because it has suffered
from time, partly because Micon did not put in the whole
story. When Minos was bringing to Crete Theseus and the
rest of the tribute of boys and girls, he fell in love with Peri-
boea. And when Theseus was his chief hindrance, Minos cast
against him angry reproaches, saying, among other things, that
he was not the son of Poseidon, for he could not fetch back the
ring which he himself was wearing, if he threw it into the
sea. With these words Minos is said to have thrown down
the ring, and Theseus [plunging after it] came back from
the sea, bringing it and also a wreath of gold, the gift of
Amphitrite."
The visit of Theseus to the court of Poseidon and Amphitrite
beneath the waters of the Aegean Sea is spoken of in the re-
cently discovered poem of Bacchylides, and it is the subject
of some very beautiful vase-paintings. One of these is the
1 Benndorf, Das Heroon von Giolbaschi Trysa, passim. It is especially
the introduction of perspective of a simple kind at Trysa (as on Pis. 12, 13)
which appears to point to the influence of painting.
2 Pausanias, I., 17, 2.
O
GREEK PAINTING
193
contemporary paintings. We are told that Pheidias worked at
painting when young, and his brother Panaenus was a painter.
Professor Benndorf has made out a good case for seeing in some
of the reliefs of the tomb of Trysa1 an echo of the paintings of
Polygnotus and other Attic painters; but we cannot insist
strongly on this line of influence, as its grounds are largely
mixed with hypothesis and conjecture, in the absence of the
paintings supposed to be copied.
Let us however return to the question of the relations
of vase-paintings to great works in fresco. We may best
bring this question to a definite issue by discussing a vase-
painting which has by good authorities been thus con-
nected.
Pausanias thus describes a painting by Micon in the Ana-
keion at Athens :2 "The painting on the third wall is not intel-
ligible without interpretation, partly because it has suffered
from time, partly because Micon did not put in the whole
story. When Minos was bringing to Crete Theseus and the
rest of the tribute of boys and girls, he fell in love with Peri-
boea. And when Theseus was his chief hindrance, Minos cast
against him angry reproaches, saying, among other things, that
he was not the son of Poseidon, for he could not fetch back the
ring which he himself was wearing, if he threw it into the
sea. With these words Minos is said to have thrown down
the ring, and Theseus [plunging after it] came back from
the sea, bringing it and also a wreath of gold, the gift of
Amphitrite."
The visit of Theseus to the court of Poseidon and Amphitrite
beneath the waters of the Aegean Sea is spoken of in the re-
cently discovered poem of Bacchylides, and it is the subject
of some very beautiful vase-paintings. One of these is the
1 Benndorf, Das Heroon von Giolbaschi Trysa, passim. It is especially
the introduction of perspective of a simple kind at Trysa (as on Pis. 12, 13)
which appears to point to the influence of painting.
2 Pausanias, I., 17, 2.
O