But already had the art of painting been perfectly2 developed in Italy. At all events, there are extant in the temples at Ardea, at this day, paintings of greater antiquity3 than Rome itself; in which, in my opinion, nothing is more marvellous, than that they should have remained so long unprotected by a roof, and yet preserving their freshness. At Lanuvium we see an Atalanta and a Helena, without drapery, close together, and painted by the same artist. They are both of the greatest beauty, the former being evidently the figure of a virgin4, and they still remain uninjured, though the temple is in ruins. The Emperor Caligula attempted to have 293 them removed to his own palace, but the nature of the plaster would not admit of it. There are in existence at C?re, some paintings of a still higher antiquity. Whoever carefully examines them, will be forced to admit that no art has arrived more speedily at perfection, seeing that it evidently was not in existence at the time of the Trojan War.
Among the Romans this art very soon rose into esteem5, the Fabii, a most illustrious family, deriving6 from it their surname of “Pictor;” the first of the family who bore it, himself painted the Temple of Health, in the year of the City, 450; a work which lasted to our own times, but was destroyed when the temple was burnt, in the reign7 of Claudius. Next in celebrity8 were the paintings of the poet Pacuvius, in the Temple of Hercules, in the Cattle Market: he was a son of the sister of Ennius, and the fame of the art was enhanced at Rome by the success of this artist on the stage. After this period, the art was no longer practised by men of rank; unless we except Turpilius, in our own times, a native of Venetia, and of equestrian9 rank, several of whose beautiful works are still in existence at Verona. He painted, too, with his left hand, a thing never known to have been done by any one before.[228]
Titidius Labeo, a person of pr?torian rank, who had been formerly10 proconsul of the province of Gallia Narbonensis, and who lately died at a very advanced age, used to pride himself upon the little pictures which he executed, but it only caused him to be ridiculed11 and sneered12 at. I must not omit to mention a celebrated13 consultation14 upon the subject of painting, which was held by some persons of the highest rank. Q. Pedius, who had been honored with the consulship15 and a triumph, and who had been named by the Dictator C?sar as co-heir with Augustus, had a grandson, dumb from his birth, whom the orator16 Messala, to whose family his grandmother 294 belonged, recommended to be brought up as a painter. He died, however, in his youth, after having made great progress in the art. But the high estimation in which painting came to be held at Rome, was principally due, in my opinion, to Valerius Maximus Messala, who, in the year of the City, 490, was the first to exhibit a painting to the public; a picture, namely, of the battle in which he had defeated the Carthaginians and Hiero in Sicily, upon one side of the Curia Hostilia. The same thing was done, too, by Lucius Scipio, who placed in the Capitol a painting of the victory which he had gained in Asia; but his brother Africanus was offended at it, for his son had been taken prisoner in the battle. Lucius Hostilius Mancinus, who had been the first to enter Carthage at the final attack, gave a similar offence to ?milianus, by exposing in the Forum17 a painting of that city and the attack upon it, he himself standing18 near the picture, and describing to the spectators the various details of the siege; a piece of complaisance19 which secured him the consulship at the ensuing Comitia.
The stage which was erected20 for the games celebrated by Claudius Pulcher, brought the art of painting into great admiration21, for the ravens22 were so deceived by the resemblance, as to light upon the decorations which were painted in imitation of tiles.
The late Emperor Augustus placed in the most conspicuous23 part of his forum, two pictures, representing War and Triumph. He also placed in the Temple of his father, C?sar, a picture of the Castors, and one of Victory, in addition to those which we shall mention in our account of the works of the different artists. He also inserted two pictures in the wall of the Curia which he consecrated24 in the Comitium, one of which was a Nemea seated upon a lion, and bearing a palm in her hand. Close to her is an old man, standing with a staff, and above his head hangs the picture of 295 a chariot with two horses. Nicias has written upon this picture that he “inburned”[229] it.
In the second picture the thing to be chiefly admired is the resemblance that the youth bears to the old man his father, allowing, of course, for the difference in age; above them soars an eagle, which grasps a dragon in its talons25. Philochares attests26 that he is the author of this work, an instance, if we only consider it, of the mighty27 power wielded28 by the pictorial29 art; for here, thanks to Philochares, the senate of the Roman people, age after age, has before its eyes Glaucion and his son Aristippus, persons who would otherwise have been altogether unknown.
Cimon of Cleon? first invented foreshortenings, or in other words, oblique30 views of the figure, and first learned to vary the features by representing them in the various attitudes of looking backwards31, upwards32, or downwards33. It was he, too, who first marked the articulations of the limbs, indicated the veins34, and gave the natural folds and sinuosities to drapery. Pan?nus, the brother of Phidias, even executed a painting of the battle fought by the Athenians with the Persians at Marathon: and so common had the employment of colors become, and to such a state of perfection had the art arrived, that he was able to represent the portraits of the various generals who commanded at that battle, Miltiades, Callimachus, and Cyn?girus, on the side of the Athenians, and, on that of the barbarians35, Datis and Artaphernes.
Polygnotus of Thasos was the first to paint the figures of women in transparent36 drapery, and to represent the head covered with a parti-colored head-dress. He, too, was the first to contribute many other improvements to the art of painting, opening the mouth, for example, showing the teeth, and throwing expression into the countenance37, in place of the ancient rigidity38 of the features.
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1 earthenware | |
n.土器,陶器 | |
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2 perfectly | |
adv.完美地,无可非议地,彻底地 | |
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3 antiquity | |
n.古老;高龄;古物,古迹 | |
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4 virgin | |
n.处女,未婚女子;adj.未经使用的;未经开发的 | |
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5 esteem | |
n.尊敬,尊重;vt.尊重,敬重;把…看作 | |
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6 deriving | |
v.得到( derive的现在分词 );(从…中)得到获得;源于;(从…中)提取 | |
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7 reign | |
n.统治时期,统治,支配,盛行;v.占优势 | |
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8 celebrity | |
n.名人,名流;著名,名声,名望 | |
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9 equestrian | |
adj.骑马的;n.马术 | |
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10 formerly | |
adv.从前,以前 | |
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11 ridiculed | |
v.嘲笑,嘲弄,奚落( ridicule的过去式和过去分词 ) | |
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12 sneered | |
讥笑,冷笑( sneer的过去式和过去分词 ) | |
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13 celebrated | |
adj.有名的,声誉卓著的 | |
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14 consultation | |
n.咨询;商量;商议;会议 | |
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15 consulship | |
领事的职位或任期 | |
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16 orator | |
n.演说者,演讲者,雄辩家 | |
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17 forum | |
n.论坛,讨论会 | |
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18 standing | |
n.持续,地位;adj.永久的,不动的,直立的,不流动的 | |
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19 complaisance | |
n.彬彬有礼,殷勤,柔顺 | |
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20 ERECTED | |
adj. 直立的,竖立的,笔直的 vt. 使 ... 直立,建立 | |
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21 admiration | |
n.钦佩,赞美,羡慕 | |
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22 ravens | |
n.低质煤;渡鸦( raven的名词复数 ) | |
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23 conspicuous | |
adj.明眼的,惹人注目的;炫耀的,摆阔气的 | |
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24 consecrated | |
adj.神圣的,被视为神圣的v.把…奉为神圣,给…祝圣( consecrate的过去式和过去分词 );奉献 | |
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25 talons | |
n.(尤指猛禽的)爪( talon的名词复数 );(如爪般的)手指;爪状物;锁簧尖状突出部 | |
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26 attests | |
v.证明( attest的第三人称单数 );证实;声称…属实;使宣誓 | |
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27 mighty | |
adj.强有力的;巨大的 | |
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28 wielded | |
手持着使用(武器、工具等)( wield的过去式和过去分词 ); 具有; 运用(权力); 施加(影响) | |
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29 pictorial | |
adj.绘画的;图片的;n.画报 | |
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30 oblique | |
adj.斜的,倾斜的,无诚意的,不坦率的 | |
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31 backwards | |
adv.往回地,向原处,倒,相反,前后倒置地 | |
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32 upwards | |
adv.向上,在更高处...以上 | |
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33 downwards | |
adj./adv.向下的(地),下行的(地) | |
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34 veins | |
n.纹理;矿脉( vein的名词复数 );静脉;叶脉;纹理 | |
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35 barbarians | |
n.野蛮人( barbarian的名词复数 );外国人;粗野的人;无教养的人 | |
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36 transparent | |
adj.明显的,无疑的;透明的 | |
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37 countenance | |
n.脸色,面容;面部表情;vt.支持,赞同 | |
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38 rigidity | |
adj.钢性,坚硬 | |
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