DOI Page / Citation link:
https://doi.org/10.11588/diglit.13450#0039
65
PORTLAND VASE.
66
MEANING OF THE FIGURES ON THE TWO SIDES OF THE VASE.
1st Side.—Mankind has an aversion to die and dread of death.
This is expressed by a figure in the middle, and one on each side of it.
The figure in the middle, supported by ruins, is in a reclining position, under
a tree of deciduous leaf; she has the expression of sickness, and of the weak-
ness connected with it. She holds in her left hand a torch nearly extin-
guished and inverted, which anciently was the emblem of death. This figure
has much beauty, and I suppose represents the Venus Libitina of the
Romans, or their goddess of funerals; she had a temple dedicated to her in
Rome, the priests and retainers of which were undertakers for funerals and
kept all the necessary articles to be hired for more or less expensive funerals.
The figures on each side are averted from the middle figure, but look back upon
it with concern and dread; these two figures represent mankind, and the
aversion and dread we have for death.
2d Side.—But to those who are good and virtuous, or who have been
benefactors to mankind and their country, dying ought not to appear an
object of dread and aversion. Death affects the body only; the soul does
not die, but passes into a new state of existence, in which it becomes im-
mortal, being exempted from the decay and dissolution to which the body
was subject, and in this second state of existence it will receive the reward
of its merits, Eternal Felicity ; or if it has been criminal it will be made to
expiate its crimes.
All this is expressed by three figures, one in the middle and one on each side
of it. The first to be considered is that on the right of the middle figure.
It represents the soul entering into its new state of existence. This is
expressed by the figure of a young man descending through a porch into a
place which appears unknown to him, for caution and curiosity are finely
expressed in his manner of entering it. He is guided by a genius or guar-
dian angel flying before him with a lighted torch.
He is naked, but his left hand still keeps hold of a garment behind him
as if he was loth to part with it. This garment is supposed to be an allusion
to the body, or earthly covering with which the soul is enveloped in this
world, and which we are loth to quit. Immediately on his entrance he is
received and encouraged to advance by the middle figure, a female with a
cheerful countenance, and who stretches out her right hand to help him in.
She sits under a laurel, which is an evergreen, and with her left hand she
caresses a serpent. This figure is supposed to be the goddess or representa-
tive of Immortality, of which the serpent was an emblem among the ancients,
on account of its frequently casting the scaly cover of its skin and getting a
new one, which by the fresh glossiness and lively colours of it made the
creature appear as if it was renewed or become young again.
The last figure is that of a respectable old man, who is viewing the young
man with attention, and is in a thoughtful posture. This is supposed to be
the judge of departed spirits, who is considering the merits of the stranger,
land what company he is qualified to join.
This very talented illustration, like most of the rest, I conceive too mytho-
logical, and has no keeping whatever with the sarcophagus in which it was
discovered, an affinity to which I hope to have proved.
THOMAS WINDUS.
Stamford Hill.
London : J. 15. Nichols and Son, Printers, 25, Parliament Street.
PORTLAND VASE.
66
MEANING OF THE FIGURES ON THE TWO SIDES OF THE VASE.
1st Side.—Mankind has an aversion to die and dread of death.
This is expressed by a figure in the middle, and one on each side of it.
The figure in the middle, supported by ruins, is in a reclining position, under
a tree of deciduous leaf; she has the expression of sickness, and of the weak-
ness connected with it. She holds in her left hand a torch nearly extin-
guished and inverted, which anciently was the emblem of death. This figure
has much beauty, and I suppose represents the Venus Libitina of the
Romans, or their goddess of funerals; she had a temple dedicated to her in
Rome, the priests and retainers of which were undertakers for funerals and
kept all the necessary articles to be hired for more or less expensive funerals.
The figures on each side are averted from the middle figure, but look back upon
it with concern and dread; these two figures represent mankind, and the
aversion and dread we have for death.
2d Side.—But to those who are good and virtuous, or who have been
benefactors to mankind and their country, dying ought not to appear an
object of dread and aversion. Death affects the body only; the soul does
not die, but passes into a new state of existence, in which it becomes im-
mortal, being exempted from the decay and dissolution to which the body
was subject, and in this second state of existence it will receive the reward
of its merits, Eternal Felicity ; or if it has been criminal it will be made to
expiate its crimes.
All this is expressed by three figures, one in the middle and one on each side
of it. The first to be considered is that on the right of the middle figure.
It represents the soul entering into its new state of existence. This is
expressed by the figure of a young man descending through a porch into a
place which appears unknown to him, for caution and curiosity are finely
expressed in his manner of entering it. He is guided by a genius or guar-
dian angel flying before him with a lighted torch.
He is naked, but his left hand still keeps hold of a garment behind him
as if he was loth to part with it. This garment is supposed to be an allusion
to the body, or earthly covering with which the soul is enveloped in this
world, and which we are loth to quit. Immediately on his entrance he is
received and encouraged to advance by the middle figure, a female with a
cheerful countenance, and who stretches out her right hand to help him in.
She sits under a laurel, which is an evergreen, and with her left hand she
caresses a serpent. This figure is supposed to be the goddess or representa-
tive of Immortality, of which the serpent was an emblem among the ancients,
on account of its frequently casting the scaly cover of its skin and getting a
new one, which by the fresh glossiness and lively colours of it made the
creature appear as if it was renewed or become young again.
The last figure is that of a respectable old man, who is viewing the young
man with attention, and is in a thoughtful posture. This is supposed to be
the judge of departed spirits, who is considering the merits of the stranger,
land what company he is qualified to join.
This very talented illustration, like most of the rest, I conceive too mytho-
logical, and has no keeping whatever with the sarcophagus in which it was
discovered, an affinity to which I hope to have proved.
THOMAS WINDUS.
Stamford Hill.
London : J. 15. Nichols and Son, Printers, 25, Parliament Street.