File:The museum of classical antiquities - being a series of essays on ancient art (1860) (14592707140).jpg

Identifier: museumofclassical00falk (find matches)
Title: The museum of classical antiquities : being a series of essays on ancient art
Year: 1860 (1860s)
Authors: Falkener, Edward, 1814-1896 Wood, J. E Davies, Benjamin Rees
Subjects: Classical antiquities Archaeology
Publisher: London : Longman, Green, Longman, and Roberts
Contributing Library: Getty Research Institute
Digitizing Sponsor: Sloan Foundation

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fother feelings in their expression of admiration or of wonder,is now futile to inquire. In turning to the incident at the other extremity of thepicture, that in some respects is so distinctly parallel, werecognise first that pragmatical connexion by which the artisthas provided for the more close combination of his independentgroups. Some legends told that Antenor quitted the Trojanshore in company with Menelaus (PmDAK). Mournful, again,as the group is, and could not but be,—for thus it is that itharmoniously ensues on the field of dead around: at least thefamily is safe, and the panther-skin hangs over the door of thehouse—symbol of a respected contract; and thus is secured onemore relieving reminiscence, another saving trait to secureour continued sympathy—errors and excesses of some of theconfederation notwithstanding, with the general cause ofGreece. It is not to be denied that there is a certain flatness in theconcluding groups of this picture, but the restorers, ^vho have
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THE P Day ^- SmlIiiIi^ to +lie Qv-tm. 7te^.iT«ani^m9oa&cSuiia)h(tU3m»«nei^iyVrW(!ih^- tV^i THE PAINTINGS OF PDLYCNgTUS, IN THE LESCHE AT DELPHITROY CAPTURED AND THE DEPARTURE OF THE CREEKS LESCHE AT DELPHI. 77 crowded supernumeraries round the unhappy ass,—I haveomitted two, have only enhanced incongruity by making the bulkand body of the groups exceed their significance—an errorunkno-svn to the Greeks: there is not story and variety of passionenough in the anecdote of Antenor to make it an equipoise tothat of Helen, and it was not intended to be so. The picture isdivided into two parts, and it is at the commencement of eachthat the most stirring incident of each, finds place—Helen andjEthra, Neoptolemus and his victims. The groups of captivesbalance those of the slain, and the ass with the servants concludesthe second series as Nestor and his horse the first. The weightysubject of the outrage on Cassandra connects the two and givesa nervous centre to the branching organi

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