DOI Page / Citation link:
https://doi.org/10.11588/diglit.61617#0373
THE HOUSE OF THE TRAGIC POET
3i3
in the treatment of the background. Nevertheless the bold-
ness of the conception, and the skill manifested in the handling
of several of the figures, seem to point to an original of more
than ordinary merit.
Fig. 149. — The sacrifice of Iphigenia. Wall painting.
Not far from 400 b.c. the sacrifice of Iphigenia was made
the subject of a painting by Timanthes, in which the maiden
was represented as standing beside the altar. We are told that
the artist painted Calchas sorrowful, Ulysses more sorrowful,
Ajax lamenting, and Menelaus in sorrow so deep that deeper
sorrow could not be expressed ; finding it impossible to portray
the grief of the father, Agamemnon, Timanthes represented
him with, veiled .head.
3i3
in the treatment of the background. Nevertheless the bold-
ness of the conception, and the skill manifested in the handling
of several of the figures, seem to point to an original of more
than ordinary merit.
Fig. 149. — The sacrifice of Iphigenia. Wall painting.
Not far from 400 b.c. the sacrifice of Iphigenia was made
the subject of a painting by Timanthes, in which the maiden
was represented as standing beside the altar. We are told that
the artist painted Calchas sorrowful, Ulysses more sorrowful,
Ajax lamenting, and Menelaus in sorrow so deep that deeper
sorrow could not be expressed ; finding it impossible to portray
the grief of the father, Agamemnon, Timanthes represented
him with, veiled .head.