. Pompeii : its life and art . rse, and a Cupid on adolphin, is now entirely faded. Half of the painting in whichChryseis appears was already ruined at the time of excavation ;the other half was transferred to the Naples Museum, togetherwith the paintings that were best preserved, the Nuptials ofZeus and Hera, and the sending away of Briseis. The two pictures last mentioned are among the best knownof the Pompeian paintings, and have often been the first we see Zeus sitting at the right, while Hypnos pre-sents to him Hera, whose left wrist he gently grasps in his THE HOUSE OF THE
. Pompeii : its life and art . rse, and a Cupid on adolphin, is now entirely faded. Half of the painting in whichChryseis appears was already ruined at the time of excavation ;the other half was transferred to the Naples Museum, togetherwith the paintings that were best preserved, the Nuptials ofZeus and Hera, and the sending away of Briseis. The two pictures last mentioned are among the best knownof the Pompeian paintings, and have often been the first we see Zeus sitting at the right, while Hypnos pre-sents to him Hera, whose left wrist he gently grasps in his THE HOUSE OF THE TRAGIC POET 3Ji right hand as if to draw her to him. Hera seems half reluc-tant, and her face, which the artist, in order to enhance theeffect, has directed toward the beholder rather than towardZeus, is queenly in its majesty and power. The scene islocated on Mt. Ida. In the background stands a pillar, onwhich are three small figures of lions; below at the side aretwo pipes, cymbals, and a tambourine, all sacred to the potent. Fig. 148. — The sending away of painting from the house of the Tragic Poet. divinity of Mt. Ida, Cybele. Three youths, crowned with gar-lands, appear in the lower right hand corner of the picture ;they are perhaps the Dactyli, demons skilled in the working ofmetals who followed in the train of Cybele. A higher degree of dramatic interest is manifested in theother painting, which we present in outline (Fig. 148). In the 3i2 POMPEII foreground at the right, Patroclus leads forward the weepingBriseis. .In the middle Achilles, seated, looks toward Patrocmswith an expression of anger, and with an impatient gesture ofthe right hand directs him to deliver up the beautiful captiveto the messenger of Agamemnon, who stands at the left wait-ing to receive her. Behind Achilles is Phoenix, his faithfulcompanion, who tries to soften his anger with comforting back the helmeted heads of warriors are seen, and atthe rear the tent of Achilles.
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Keywords: ., bookcentury1800, bookdecade1890, bookpublishernewyorkmacmillan
