File:Pompeii, its life and art (1902) (14762486414).jpg

Identifier: pompeiiitslifear00maua (find matches)
Title: Pompeii, its life and art
Year: 1902 (1900s)
Authors: Mau, August, 1840-1909 Kelsey, Francis W. (Francis Willey), 1858-1927
Subjects:
Publisher: New York : Macmillan
Contributing Library: Getty Research Institute
Digitizing Sponsor: Sloan Foundation

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Text Appearing Before Image:
Fig. 170. — Cupids celebrating the festival of Vesta.Wall painting in the house of the Vettii. ing a pair of deer, a cock fight, vases, and a wallet with a heraldsstaff, attributes of Mercury, who perhaps had a place amongthe Penates of the house. In the room at the left of the atrium (c) is a painting ofCyparissus, the youth beloved of Apollo, with his wounded deeron the ground near him ; in another part of the room is thewrestling match between Pan and Eros. Among the figuresseen in the architectural framework of the upper division of thewall is Zeus, sitting on his throne, represented as a youth, un-bearded ; Leda with the swan also appears, and Danae holdingout her robe to catch the golden rain. The direction of the owners tastes is perhaps indicated by apainting in the peristyle, at the middle of the wall under thecolonnade at the left. It contains a portrait, probably of anauthor; near by is a manuscript case with rolls of papyrus.
Text Appearing After Image:
THE HOUSE OF THE VEITH 339 The paintings in the two dining rooms opening on the peri-style, // and /, are in a better state of preservation than those ofany other part of the house. In the first room, n, the simpleand restful decoration surrounding the large pictures is in strik-ing contrast with the pictures themselves, one of which is placedat the middle of each of the three walls. Here we see theinfant Hercules strangling the serpents, there Pentheus and theMaenads about to tear him in pieces; the subject of the thirdpainting is the punishment of Dirce, the treatment being notunlike that of the sculptured Farnese group in the NaplesMuseum. The decorative effect of the other room, /, is more harmonious.The divisions of the wall space, the relation of the three prin-cipal paintings to the decorative design, and the distribution ofornament are indicated in our illustration (Plate IX); but noreproduction can do justice to the richness of the coloring. The painting in the middle panel a

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