A dictionary of Greek and Roman . point of beauty, have beenas similar as possible to their representations instatues and paintings, to which the eyes of theGreeks were accustomed ; and the distorted maskswith widely open mouths, which are seen in greatnumbers among the paintings of Herculaneum andPompeii (see the annexed woodcut from MuseoBorbon. vol. i. tab. 20) would give but a very in-adequate notion ofthe masks used atAthens during themost flourishing pe-riod of the arts. Allthe representationsof tragic masks be-longing to this pe-riod, do not showthe slightest traceof exagg
A dictionary of Greek and Roman . point of beauty, have beenas similar as possible to their representations instatues and paintings, to which the eyes of theGreeks were accustomed ; and the distorted maskswith widely open mouths, which are seen in greatnumbers among the paintings of Herculaneum andPompeii (see the annexed woodcut from MuseoBorbon. vol. i. tab. 20) would give but a very in-adequate notion ofthe masks used atAthens during themost flourishing pe-riod of the arts. Allthe representationsof tragic masks be-longing to this pe-riod, do not showthe slightest traceof exaggeration ordistortion in the features of the countenance, andthe mouth is not opened wider than would be neces-sary to enable a person to pronounce such soundsas oh or ha. In later times, however, distortionsand exaggerations were carried to a very greatextent, but more particularly in comic masks, sothat they in some degree were more caricaturesthan representations of ideal or real countenances.(Apollon. Vit. Apollon. v. 9. p. , ed. Olear;.
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Keywords: ., bookauthorsmithwilliam18131893, bookcentury1800, bookdecade1840
