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 (14782861362).jpg

English: Drawing of a fresco from Pompeii of Ariadne abandoned on Naxos, 1870. Translated related text: This abandoned Ariadne offers more than one point of resemblance with the one we saw before; but the details and the accessories are different. On both paintings, the size of the daughter of Minos lets us see the consequences of her fault; because it is not only a lover that the conqueror of the minotaur so cowardly abandons, it is a wife and a mother. Here, moreover, all the odious calculations of perjury are revealed: the painter admits the version of the mythographers, who tell that, during their travel, Ariadne being overtaken by the pains which announce childbirth, and the agitation of the vessel aggravating still this indisposition, Theseus seized this pretext to make her disembark, and to deposit her on a kind of bed which he made set up on the shore: there she fell asleep without the travelers having time to communicate with the inhabitants of Tile, and this circumstance favored the travelers. Tile, and this circumstance favored the flight of the ingrate. Our painting shows, indeed, a kind of fur dyed of crimson, on which Ariane is lying extended, a kind of garniture of the bed of which the ancients made great use; one sees, in addition, cushions or draperies which hold the place of pillows. All these cares, which elsewhere would be indications of humanity, are here proofs of premeditation which make the perfidy more odious.

Love, or Ariadne's Genius, stands before her, and, like her, wipes his tear-filled eyes: he holds in his hand an instrument which, according to the ornaments on the handle, is no longer a nymph leaf, as in many other paintings, but a fan, to which art has given the shape of this leaf.

The character who supports Ariadne, and who shows her the fugitive vessel, is no longer Love, but a threatening and avenging Genie, undoubtedly Nemesis, who declares war on the guilty party, and announces the punishments which are reserved for him. Perhaps this messenger of justice points out to the sad Ariadne that the black sails have not been changed, and that a terrible mistake will bring about the death of Aegeus. But it is not necessary to believe that Némésis, companion of modesty, consoles the unhappy, but guilty Ariadne, murderer of her brother, cause of the despair of a mother and a sister: where is the remorse that revenge does not relieve? Nemesis is recognizable by her white tunic, her strong wings, her attitude, that of a person who arrives without being seen or heard, as she usually comes to the guilty party's bedside, and above all by the severe expression of her gesture and her features. It is not the first time that Nemesis and the afflicted Love join together in the same poetic thought. A Greek epistolographer lends these words to one of his heroines: " Némésis and Love are two terrible divinities, which sometimes turn towards a mortal and sometimes towards another".

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:
monstre enfin rejeté dans la perspec-tive, ce qui de lautre côté était impossible ! Le peintre achoisi, quant à ce dernier personnage, la tradition quilui convenait le mieux : les Uns le disent pétrifié ; lesautres le font périr sous les coups de la harpe; et selonPausanias, on voyait encore à Joppé une fontaine danslaquelle Persée, tout couvert du sang du monstre, étaitvenu se laver, et dont les eaux avaient conservé uneteinte rougeatre. Pline dit aussi que le squelette dumonstre marin fut apporté à Rome par Scaurus ; ce quisuppose que lon ne croyait pas quil eût été pétrifié toutentier. Les deux opinions pourraient se concilier : frappédabord du glaive recourbé , puis pétrifié par le regardde Méduse, lanimal aurait succombé à la fois par lecourage de Persée et par son talisman magique. Quoiquil en soit, le sculpteur semble avoir adopté la traditionla plus convenable à son art : le peintre, celle quil devait PEINTURES t.. /( (Uc /t / 2™e 5ene. 11 ) ! ;
Text Appearing After Image:
m ? b° . v t_/l Tracent DEUXIÈME SÉRIE. 35 exprimer le plus facilement, lui qui pouvait montrer lamer agitée et rougie, et des flots de sang qui découlentdune large blessure. . * , PLANCHE 109. Cette Ariane abandonnée offre plus dun point deressemblance avec celle que nous avons vue précédem-ment (i); mais les détails et les accessoires sont différents.Des deux côtés, la taille de la fdle de Minos laisse aper-cevoir les suites de sa faute ; car ce nest point seule-ment une amante que le vainquer du minotaure aban-donne si lâchement, cest une épouse et une mère. Ici,en outre, tous les odieux calculs du parjure sont ré-vélés : le peintre admet la version des mythographes,qui racontent que, pendant la route, Ariane étant sur-prise par les douleurs qui annoncent lenfantement, etlagitation du vaisseau aggravant encore cette indispo-sition, Thésée saisit ce prétexte pour la faire débarquer,et pour la déposer sur une espèce de lit quil fit dressersur le rivage : là

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