DOI Seite / Zitierlink:
https://doi.org/10.11588/diglit.61617#0519
442
POMPEII
In the corner of a garden belonging to a house in the first
Region (I. ii. 17) is a shrine faced with white marble, in which
was a small marble statue of Aphrodite, partly supported by a
figure commonly identified as Hope, Spes. The carving is in no
way remarkable, but the statue is of interest on account of the
well preserved coloring applied to the eyes, hair, and dress.
The group is now in the Naples Museum.
A more important example, from the aesthetic point of view,
is the statue of Artemis, of one half life size, shown in Plate X.
It was found in a house near the Amphitheatre which was ex-
cavated in 1760 and covered up again. It is a careful copy,
made in the time of Augustus, of a Greek masterpiece produced
in the period of the Persian Wars. The original was probably
the Artemis Laphria mentioned by Pausanias. This was a work
of Menaechmus and Soedas, two sculptors of Naupactus. Pre-
vious to the battle of Actium it stood in a sanctuary in Calydon,
whence it was removed by Augustus, who presented it to the
colony founded by him at Patras.
The goddess appears in this statue as a huntress, moving for-
ward with a firm but light step ; the bow in the left hand has
disappeared. The copyist was remarkably successful in im-
pressing upon his work the gracious and pleasing character of
the original; the later archaic Greek art, in spite of its conven-
tions, is full of human feeling. The copy preserved also the
coloring of the model; but the tinting of the Roman colorist
was probably less delicate than that of the Greek limner who
added the polychrome decoration to the marble original. The
hair was yellow. The pupils of the eyes were brown, the eye-
lashes and eyebrows black. The rosettes of the diadem were
yellowr, and the border of the outer garment was richly varie-
gated in tints of yellow, rose color, and white. Traces of rose-
colored stripes are visible also about the openings of the sleeves,
on the edge of the mantle at the neck, and on the border of the
chiton.
Besides the bronze statues of Apollo and Artemis already
mentioned (pp. 88, 346), three others of those found at Pompeii
are worthy of more than passing notice,—the dancing satyr
from which the house of the Faun received its name, the
POMPEII
In the corner of a garden belonging to a house in the first
Region (I. ii. 17) is a shrine faced with white marble, in which
was a small marble statue of Aphrodite, partly supported by a
figure commonly identified as Hope, Spes. The carving is in no
way remarkable, but the statue is of interest on account of the
well preserved coloring applied to the eyes, hair, and dress.
The group is now in the Naples Museum.
A more important example, from the aesthetic point of view,
is the statue of Artemis, of one half life size, shown in Plate X.
It was found in a house near the Amphitheatre which was ex-
cavated in 1760 and covered up again. It is a careful copy,
made in the time of Augustus, of a Greek masterpiece produced
in the period of the Persian Wars. The original was probably
the Artemis Laphria mentioned by Pausanias. This was a work
of Menaechmus and Soedas, two sculptors of Naupactus. Pre-
vious to the battle of Actium it stood in a sanctuary in Calydon,
whence it was removed by Augustus, who presented it to the
colony founded by him at Patras.
The goddess appears in this statue as a huntress, moving for-
ward with a firm but light step ; the bow in the left hand has
disappeared. The copyist was remarkably successful in im-
pressing upon his work the gracious and pleasing character of
the original; the later archaic Greek art, in spite of its conven-
tions, is full of human feeling. The copy preserved also the
coloring of the model; but the tinting of the Roman colorist
was probably less delicate than that of the Greek limner who
added the polychrome decoration to the marble original. The
hair was yellow. The pupils of the eyes were brown, the eye-
lashes and eyebrows black. The rosettes of the diadem were
yellowr, and the border of the outer garment was richly varie-
gated in tints of yellow, rose color, and white. Traces of rose-
colored stripes are visible also about the openings of the sleeves,
on the edge of the mantle at the neck, and on the border of the
chiton.
Besides the bronze statues of Apollo and Artemis already
mentioned (pp. 88, 346), three others of those found at Pompeii
are worthy of more than passing notice,—the dancing satyr
from which the house of the Faun received its name, the