DOI Seite / Zitierlink:
https://doi.org/10.11588/diglit.61617#0370
3io
POMPEII
others present youthful warriors with helmet, shield, sword, and
spear, all well conceived and executed with much delicacy.
The atrium, unlike most of those at Pompeii, was rich in wall
paintings. Six panels, more than four feet high, presented a
series of scenes from the story of the Trojan war, as told in the
“ Iliad.” These were united with the decorative framework in
such a way as to make a harmonious and pleasing whole; the
main divisions of the right wall of the atrium, as well as of the
fauces and tablinum, are indicated in Fig. 147.
In arranging the pictures, the decorators had little regard for
the order of events. The subjects were the Nuptials of Zeus
and Hera (at a on the plan); the judgment of Paris (£)—
though this is doubtful, as the picture is now entirely obliter-
Fig. 147. — Longitudinal section of the house of the Tragic Poet, restored.
ated ; the delivery of Briseis to the messenger of Agamemnon
(r); the departure of Chryseis (<7), and seemingly Thetis bring-
ing arms across the sea to Achilles (/). Of the painting at e
only a fragment remained, too small to make it possible to rec-
ognize the subject. The fragment at f, in which were seen a
Triton, two figures riding on a sea horse, and a Cupid on a
dolphin, is now entirely faded. Half of the painting in which
Chryseis appears was already ruined at the time of excavation ;
the other half was transferred to the Naples Museum, together
with the paintings that were best preserved, the Nuptials of
Zeus and Hera, and the sending away of Briseis.
The two pictures last mentioned are among the best known
of the Pompeian paintings, and have often been reproduced.
In the first we see Zeus sitting at the right, while Hypnos pre-
sents to him Hera, whose left wrist he gently grasps in his
POMPEII
others present youthful warriors with helmet, shield, sword, and
spear, all well conceived and executed with much delicacy.
The atrium, unlike most of those at Pompeii, was rich in wall
paintings. Six panels, more than four feet high, presented a
series of scenes from the story of the Trojan war, as told in the
“ Iliad.” These were united with the decorative framework in
such a way as to make a harmonious and pleasing whole; the
main divisions of the right wall of the atrium, as well as of the
fauces and tablinum, are indicated in Fig. 147.
In arranging the pictures, the decorators had little regard for
the order of events. The subjects were the Nuptials of Zeus
and Hera (at a on the plan); the judgment of Paris (£)—
though this is doubtful, as the picture is now entirely obliter-
Fig. 147. — Longitudinal section of the house of the Tragic Poet, restored.
ated ; the delivery of Briseis to the messenger of Agamemnon
(r); the departure of Chryseis (<7), and seemingly Thetis bring-
ing arms across the sea to Achilles (/). Of the painting at e
only a fragment remained, too small to make it possible to rec-
ognize the subject. The fragment at f, in which were seen a
Triton, two figures riding on a sea horse, and a Cupid on a
dolphin, is now entirely faded. Half of the painting in which
Chryseis appears was already ruined at the time of excavation ;
the other half was transferred to the Naples Museum, together
with the paintings that were best preserved, the Nuptials of
Zeus and Hera, and the sending away of Briseis.
The two pictures last mentioned are among the best known
of the Pompeian paintings, and have often been reproduced.
In the first we see Zeus sitting at the right, while Hypnos pre-
sents to him Hera, whose left wrist he gently grasps in his