File:The museum of classical antiquities - being a series of essays on ancient art (1860) (14756504016).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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) repre-senting the biith of IMinerva, the treatment of which is so conformable to the ancientmyths, that I cannot imagine any composition which would be more suited for thecentre of the pediment. It represents the birth of jMinerva, who issues from thehead of Jupiter. The goddess has the helmet on her head, the buckler on her arm,and a spear in her hand. Jupiter is seated, holding the sceptre in one hand, in themanner of a spear, and the thunderbolt in the other. On each side of the goddessis a woman. On his right is the deity called Diana, Juno or Lucina, whose twoarms are elevated, and who seems by the action of one of her hands to have assistedat the operation of the extraordinary childbirth. On the left of Jupiter is Venus,recognisable by her half-naked attire, a sprig of myi-tle, and a dove. Behind JmioLucina is Vulcan, still armed with the axe which has cleft the head of the god,and seeming to regard with admiration the success of his operations
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^ It is published by Dempster (Etr. RegA. 78); Goxi (Mus. Etr. tab. 120): andexplained by Foggini (Dm. Corton. ii. 93); and Lanzi (Saggio di Lingua Etrusca,ii. 191). EASTERN PEDIMENT OF THE PARTHENON. 357 Engraved pateras (miiTors) and terra-cotta vases may be considered as the pro-ductions of a manufacturing industry. Whatever degree of ability we might wish toattribute to the artists employed in multiplying such works, we cannot award to themthe merit of invention, of composition, of whatever constitutes, in fine, the originalidea of those various subjects presented to us in such works. It is probable thatsuch manufactories had formerly, as our own in the present day, models of figuresand groups copied from ancient sculptures or paintings, and that these designsformed types, which were copied with more or less fidelity, and which served to per-petuate the more ancient style of drawing of the primitive schools. Thus may be explained the excessive diiference of style in the drapery, t

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