DOI Page / Citation link:
https://doi.org/10.11588/diglit.49928#0022
of a house decorated with a laurel wreath and two masks. On
the left the door of the house is seen half-open. Above the
chief picture, in a decorative band of ivy leaves and berries,
is the artist’s inscription, Άσστβας εγραφε, “ Assteas painted
(me).”
All the characters wear a closely-fitting dress, which covers
the whole body, and over it a loose sleeveless blouse w'hich
covers a good deal of padding. The masks vary considerably,
that of Charinus has a white beard and white hair; that of
Eumnestus short woolly hair ; that of Cosilus long dishevelled
locks, and that of Carion a row of grinning teeth, a short snub
nose, and bristly hair.
Fig. 4.—Scene in a Theatre.
Roman Terra-cotta Relief. In the Campana Collec-
tion at the Louvre.
Ann. d. Inst., 1859, Pl. O.
Baumeister, Denkmdler, p. 1754, fig. 1831.
Daremberg et Saglio, Diet., fig. 589.
The genuineness of this relief has been questioned on
grounds of technique.
It represents a suppliant seated on an altar on the left, and
an actor coming on the stage, on the right. The latter is in pur-
suit of the fugitive, but the master of the house stands in the
centre as though to vindicate the right of asylum. All the
characters wear masks, and the scene may well be assumed to
i belong to the New Comedy.
-.
Figs. 5-7.—Scenes from Terence.
Miniatures from the Codex Vaticanus of Terence.
The work of a German (?) of the Tenth Century
a.d.
Wieseler, Theatergebdude, &c., Pl. x., figs. 5, 6, 7.
Baumeister, Denkmdler, p. 831, fig. 914 (— fig. 5).
Though these pictures belong to a late date, there can be
little doubt that they are derived from classical originals,
and were probably intended as a guide for the stage-manager
in disposing the actors on the stage.
They give a fair idea of the grecised dress (tunica and pal-
lium} used in the Palliatae.
Fig. 5 is inscribed Thraso Miles, Gnat(h)o Parasitus, Donax,
Simalio Lorari(us), Syrus, Sanga, Thais Meretrix, Chremes Adu-
lescens, which shows that the scene is taken from the Eunuchus
of Terence, iv. 8, the passage where Thraso, urged on by
Gnatho, tries to storm the house of Thais. The names, however,
do not all correspond in order with the figures given below'.
The tw'O figures to the right are Chremes and Thais. In
front of them Gnatho is calling on Thraso’s band to advance.
Sanga leads the way with a whisk to sweep away the blood
which will flow in the conflict (the epithet lorarius given him
! is not to be found in Terence’s text). Then comes Donax
with the crow’bar, followed by Thraso, w’ho w'ears a curious
cap, and gives commands to Simalio and Syrus. One of these
two is girding a mantle round his waist, the other hurls a
stone.
Fig. 6.—
The Meeting of Chremes and Menedemus in a Field.
Heautontimorumenos, Acti., Sc. i.
Inscribed “ Chremes Senex ” and “ Menedemus.”
Menedemus stands holding his mattock across his shoulder.
A sheaf and a yoke and pole lie beside him. Chremes is re-
presented lifting the mattock and advising Menedemus to rest,
so that the mattock occurs twice over. This, however, is due
to the artist’s desire to render two stages of the action at once.
Fig. 7.—
The Conversation between Demipho and Phormio.
Terence, Phormio, Act ii., Sc. 3.
Inscribed, “Demipho, Geta, Phormio, Hegio, Cratinus,
Crito.”
Geta must be imagined as standing somewhat in the back-
ground, so that Demipho and Phormio may face one another.
Cratinus and Crito carry books and Cratinus is rehearsing,
though he does not do so in Terence.
6
the left the door of the house is seen half-open. Above the
chief picture, in a decorative band of ivy leaves and berries,
is the artist’s inscription, Άσστβας εγραφε, “ Assteas painted
(me).”
All the characters wear a closely-fitting dress, which covers
the whole body, and over it a loose sleeveless blouse w'hich
covers a good deal of padding. The masks vary considerably,
that of Charinus has a white beard and white hair; that of
Eumnestus short woolly hair ; that of Cosilus long dishevelled
locks, and that of Carion a row of grinning teeth, a short snub
nose, and bristly hair.
Fig. 4.—Scene in a Theatre.
Roman Terra-cotta Relief. In the Campana Collec-
tion at the Louvre.
Ann. d. Inst., 1859, Pl. O.
Baumeister, Denkmdler, p. 1754, fig. 1831.
Daremberg et Saglio, Diet., fig. 589.
The genuineness of this relief has been questioned on
grounds of technique.
It represents a suppliant seated on an altar on the left, and
an actor coming on the stage, on the right. The latter is in pur-
suit of the fugitive, but the master of the house stands in the
centre as though to vindicate the right of asylum. All the
characters wear masks, and the scene may well be assumed to
i belong to the New Comedy.
-.
Figs. 5-7.—Scenes from Terence.
Miniatures from the Codex Vaticanus of Terence.
The work of a German (?) of the Tenth Century
a.d.
Wieseler, Theatergebdude, &c., Pl. x., figs. 5, 6, 7.
Baumeister, Denkmdler, p. 831, fig. 914 (— fig. 5).
Though these pictures belong to a late date, there can be
little doubt that they are derived from classical originals,
and were probably intended as a guide for the stage-manager
in disposing the actors on the stage.
They give a fair idea of the grecised dress (tunica and pal-
lium} used in the Palliatae.
Fig. 5 is inscribed Thraso Miles, Gnat(h)o Parasitus, Donax,
Simalio Lorari(us), Syrus, Sanga, Thais Meretrix, Chremes Adu-
lescens, which shows that the scene is taken from the Eunuchus
of Terence, iv. 8, the passage where Thraso, urged on by
Gnatho, tries to storm the house of Thais. The names, however,
do not all correspond in order with the figures given below'.
The tw'O figures to the right are Chremes and Thais. In
front of them Gnatho is calling on Thraso’s band to advance.
Sanga leads the way with a whisk to sweep away the blood
which will flow in the conflict (the epithet lorarius given him
! is not to be found in Terence’s text). Then comes Donax
with the crow’bar, followed by Thraso, w’ho w'ears a curious
cap, and gives commands to Simalio and Syrus. One of these
two is girding a mantle round his waist, the other hurls a
stone.
Fig. 6.—
The Meeting of Chremes and Menedemus in a Field.
Heautontimorumenos, Acti., Sc. i.
Inscribed “ Chremes Senex ” and “ Menedemus.”
Menedemus stands holding his mattock across his shoulder.
A sheaf and a yoke and pole lie beside him. Chremes is re-
presented lifting the mattock and advising Menedemus to rest,
so that the mattock occurs twice over. This, however, is due
to the artist’s desire to render two stages of the action at once.
Fig. 7.—
The Conversation between Demipho and Phormio.
Terence, Phormio, Act ii., Sc. 3.
Inscribed, “Demipho, Geta, Phormio, Hegio, Cratinus,
Crito.”
Geta must be imagined as standing somewhat in the back-
ground, so that Demipho and Phormio may face one another.
Cratinus and Crito carry books and Cratinus is rehearsing,
though he does not do so in Terence.
6