File:Herculanum et Pompéi, recueil général des peintures, bronzes, mosaïques, etc., découverts jusqu'à ce jour, et reproduits d'apreès Le antichita di Ercolano, Il Museo borbonico, et tous les ouvrages (14780844504).jpg

English: Drawing of fresco depicting Achilles at Skyros found in the tablinum of the House of the Dioscuri aka House of the Quaestor by Henri Roux The Elder, 1870; Full translated plate description: ""Ovid puts in the very mouth of Odysseus the story of the ruse that the latter used to discover Achilles among the young girls of Scyros: the poet makes the king of Ithaca speak thus:

Praescia venturi genitrix Nereia lethi Dissimulat cultu natum: et deceperat omnes, In quibus Ajacein, sumptae fallacia vestis. Arma ego femineis animum motura virilem Mercibus inserui, neque adhuc projecerat heros Virgineos habitus, cum parmam hastamque tenenti, “Nate dea, dixi, tibi peritura reserving Pergama: quid dubitas ingentem evertere Trojam? » Injecique manum, fortemque ad fortia misi

“The Nereid, mother of Achilles, foreseeing the death that threatens her son, disguises him under the clothes of the opposite sex; this ruse fools everyone, and Ajax himself. But I, among objects specific to women's toilets, I hide weapons whose appearance must move a virile heart: indeed, the young hero seizes a shield and a javelin, he is going to strip himself. of the effeminate costume which covers him: 'Son of a goddess,' I said to him, 'Pergamos is reserved to perish under your blows; Why are you still hesitating to break "the Trojan power?" Immediately I seize him, and I lead the warrior to those wars which await him. "It must be added, according to Hygin (1), that the place where Achilles was hidden by his mother was the palace of Lycomedes, king of the island of Scyros. Stace (2), supposes that Deidamia, daughter of this prince, became the lover and wife of the son of Peleus: and he gives Odysseus Diomedes as a companion, while the commentator of the Iliad (3) names Phoenix and Nestor.
"What we have just recalled sufficiently indicates the subject and the characters of the wall painting found in the tablinum of the Quaestor's house. The scene takes place in the vestibule of the palace of Lycomedes, which we see himself in the background. Odysseus and Achilles are caught up in the same action that Ovid has described: another Greek, Diomede, or Phoenix, or Nestor, seizes the young hero at the same time and begins to strip him of his woman's clothes; unless one prefers to see in this character a confidant of the projects of Thetis, who seeks to prevent the son of this goddess from betraying himself by seizing the arms. Finally, in the background, appears a character whose attitude, more difficult to explain, has given rise to some misunderstandings: it is, in our opinion, Deidamia, who, busy trying on for her own account the feminine ornaments under which Odysseus had hidden the weapons, is suddenly frightened by the scene that takes place between Achilles and the king of Ithaca. If her state of nudity does not yet seem sufficiently well explained, it must be remembered that ancient artists, like certain modern ones, only asked for a pretext to put in their paintings something more seductive than human flesh and draperies. "It will be noted that the shield offered to the son of Peleus is decorated with a very attractive subject for this young hero, and very frequently repeated in antiquity, as several examples have already proved to us: this subject is the education of 'Achilles himself by the centaur Chiron. "The helmet and the peg that we see on the ground are silver: the small vase is gold, and the shield of red copper. Ulysses' garment, very well draped, consists of a purple tunic with a green border and a red cloak lined with white. Achilles wears a purple pallium lined with sky blue; Deidamia is about to wrap herself in blue drapery, and King Lycomedes' cloak is dark purple." - Louis Barré, 1870

Identifier: herculanumetpomp18703barr (find matches)
Title: Herculanum et Pompéi, recueil général des peintures, bronzes, mosaïques, etc., découverts jusqu'à ce jour, et reproduits d'apreès Le antichita di Ercolano, Il Museo borbonico, et tous les ouvrages analogues
Year: 1870 (1870s)
Authors: Barré, Louis, 1799-1857 Roux, H. (Henri), Sr Bouchet, Adolphe
Subjects: Art, Greco-Roman
Publisher: Paris, Firmin Didot frères, fils et cie
Contributing Library: Harold B. Lee Library
Digitizing Sponsor: Brigham Young University

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Text Appearing Before Image:
A . lH V . 5 . P. 41 feiwtue.es 7<zA-y- 2™f Série. 95.
Text Appearing After Image:
ff. f£GCts.T> M°. B1 V. 9 . P. 6 ASSIS &&2§ jv. ,g(g^nE DEUXIEME SERIE. 9 efforts, par deux malicieux Génies, contre limportunitédesquels elle essaye en vain de se défendre. Cest toujours la charmante scène du Dépit amoureux,le Donec gratus eram du poëte : scène dont le dénoû-ment sera éternellement le même. On remarque le diadème de la mère des Amours, soncollier détoiles, emblème de Vénus-Uranie, et les bra-celets en forme de serpents quelle porte aux poignets.Cette belle composition ornait la salle dentrée dunemaison de Pompéi, située près de lédifice vulgairementappelé Panthéon. La vignette offre, en deux bandes terminées en rin-ceaux, un aigle aux ailes éployées, sur un globe entouréde feuillages. On sait quun des attributs de Jupitertonnant (Zeù; ppovTaio;,) était une boule dairain, symboledun bruit retentissant (i). PLANCHE 95 Ovide met dans la bouche même dUlysse le récit dela ruse que celui-ci a employée pour découvrir Achillepar

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