sides. This Temple has the same variety in the size of the mutules, as was described in the last. The third and smallest is hexastyle peripteral, with fourteen columns on the flanks. "The plan and details of this Temple are very similar to those of the southern Temple on the eastern hill. The capitals of both are without the concavity under the annulets, common to the four other Temples, and the architecture generally approaches nearer to the examples found in Greece. From these circumstances, it is conjectured that these two Temples are of a later date than the other four.' P 35. All these six Temples were of the Doric order-the stone thinly coated with fine plaster, and several members of the entablature painted red and blue, being the remaining colours. P. 35. Whatever praise is in other respects due to Greek architecture, we doubt the heads in the Ægina marbles, with perhaps rather more expression; the sculptor has evidently intended to mark the agonies of death by the closed eyes, the mouth slightly opened, and the tongue appearing between the teeth; the hair and beard are most carefully and symmetrically arranged." P.40. The helmet is like that which appears on the bust of Pericles, in the Townley Collection, i. e. could be wholly pulled down so as to cover the face entirely. From this we infer, that the dying figure was intended for a Greek; because these helmets, called περικεφαλαία, did belong to the early Greeks (Meyrick, xxiv.), and the Phrygian bonnet was among the Greek artists à distinctive attribute of Barbarians. (Fosbroke's Encyl. of Antiq. 765.) These metopes, say our authors, Theseium, are in very high relief, some not but the execrable taste of paint-parts being quite detached; they bear a great resemblance to some of the figures on ing these members "blue and red," the early Greek and Sicilian fictile vases; &c. will be justly condemned by all and the sculpture, though not quite equal, is very similar, both in style and execution, to the sculpture of the Panhellenium of Ægina." P. 41. persons. The subjects of the Metopes we shall give numerically from the Plates of them, which commence with No. III. No. III. represents a combat between a warrior and a female, whether an amazon or divinity our authors doubt; but they are inclined from finding a figure of Minerva very much resembling this in the Sicilia Veteris Nummi (tab. lxxxiii.), to think it appertains to that Goddess. We refer them to a statue marked AOHNA in Boissard, for a figure in very similar costume. The warrior subdued does not seem to relate to Enceladus or any other of the giants whom she killed, nor do we know of any fable to which it can refer for the Minerva who killed Pallas is distinguished by wings on her feet. We therefore think, that the subject must be one of purely local mythology. No. IV. consists of the body and head of a dying warrior, and part of a female figure. The latter may be ascribed to an Amazon or Bacchant, from the naked thigh and knee, but it is only a very imperfect fragment, and more probably is a continuation of the last fable. Battles between Greeks and Amazons are however common subjects. Our authors say of the head of the warrior: "This example of early Greek sculpture bears a very marked resemblance to some of Another metope (not engraved) represented a male and a female figure comlating. The female bears a shield on the left arm, and the warrior has the chlamys falling over the right shoulder (p. 42). It is to be regretted that the authors have not specified the form of the shield, but presume that, had it been an Amazonian Pelta, they would have discriminated it. A round Greek shield is a very common accompaniment of figures of Minerva. This metope appears to be of later date and superior taste to the others. No. VI. represents a quadriga and three figures, presumed to allude to the celebrated race between Pelops and Oenomaus, and to have been copied from the Temple of Jupiter at Olympia, where this story was sculptured. No. VII. exhibits the death of the Gorgon Medusa. The head of the Gorgon is monstrous. We refer our readers to D'Hancarville, vol. iv. pl. 26, for the same subject; and observe, that though the Gorgons are there very ugly, and their large teeth denote the boar's tusks, with which the Poets have armed their mouths, yet that artists have rarely given to Medusa the hideous features of the Gorgons, so common upon the Etruscan vases. The specimen before us gives an excel lent representation of the tusk-shaped teeth, and serves to explain a passage of Æschylus (in Prometheo) where he calls the Gorgons" povodovras," meaning, of course, that they had all teeth of a similar form (not one common tooth among them all, "communis idem est omnibus dens,") as the Latin version of the Greek seems to imply, though it is a physical impossibility. Perseus in this marble has talaria, which resemble xonμides or ocreæ, and turn down at top, in scroll or cartouche fashion. Plate VIII. represents Hercules Melampyges, seizing Passalus and Achæ mon, the Cercopes. This plate is excellently illustrated; but we shall correct a small misnomer:-the ornament on the fascia is not the mæander, but the labyrinth fret. We must not omit Plate II., a restoration of the central Temple, eastern hill. It exhibits the most tasteful union of simplicity and ornament, which we have ever seen in Greek architecture, and is an exquisite specimen of the perfection of the Doric style, strength without heaviness. We cannot praise the authors too much, for the excellent manner in which, both as to Plates and Letterpress, they have edited this work. It will form a most valuable addition to the library of the Dilettanti Antiquary. 2. Disquisitions upon the Painted Greek Vases, and their probable Connection with the Shows of the Eleusinian and other Mysteries. By James Christie, a Member of the Society of Dilettanti. 4to. pp. 146. TO iliustrate ancient paintings correctly, it is, in our opinion, absolutely necessary to know the customary subjects. Pliny (L. 35. c. 4 to 12), furnishes a long list of these. They appear to be battle-pieces (some of them with portraits of the generals), figures of deities, historical pictures-portraits and family groups-Bacchants-Satyrs mythological storiesships-biga, quadriga, &c. &c.-in short, numerous pictures composed of figures, but very few where there are buildings or landscapes, subjects mostly limited to wall paintings. -numerous The question is, however, this: Are all these subjects explicable? To this we answer no; and affirm, let others think as they will, that D'Hancarville's Illustrations of the Hamilton Vases are, in the main, mance; for this obvious reason, that, certain points excepted which we shall soon discuss, elucidation is impossible. This impossibility is occasioned by the ancient painters (1) intermixing with their portraits figures and actions, either arbitrarily for the sake of effect, or in allusion to circumstances utterly unknown; or (2) by the pictures themselves having no other original meaning, than the exhibition of a favourite design; or (3) by the character of the figures being in local, not general Mythology. Of the first kind we shall give two instances. Pliny mentions a Semiramis rising ex ancillá to a throne, accompanied by an old woman carrying a lamp. (L. 35. c. 10) Now according to Diodorus and Ctesias, she did not rise to the throne of Ninus ex ancilla, but was the wife of Nenon, Prefect of Syria, when the King carried her off. D'Hancarville would give in a moment a presumed meaning of the old woman with her lamp; but no Antiquary who knows any thing of the subject would accredit him, unless he produced a description from an ancient author confirming his hypothesis. Athenæus informs us, that Alcibiades exhibited two pictures which he had brought from Agloophon; in one Pythias and Olympias were crowning him (Alcibiades); in another he is placed upon the knees of Nemea sitting. By what possible means could a modern know that this small figure was Alcibiades? We could mention numerous other instances, but it is utterly unnecessary, because no fact is better established, than that authors and marbles often differ. Why do they differ? Plainly because artists indulged in distinctions, known perhaps to themselves, and often perhaps to contemporaries, but not to authors. Several pictures have undoubtedly no other meaning than the exhibition of a pleasing design. Thus Pliny mentions a boy blowing a fire, and Leontium, Mistress of Epicurus, thinking of that voluptuary? D'Hancarville would allegorize the former, and of the latter he would make some person,-certainly not Leontium. Cicero (de Nat. Deor.) mentions a Juno Sospita et Lanuvium draped in a at's skin, with a spear, shield, &c. ilar instances occur in Pau sanias of different representations of one and the same deity in various countries. Allegorical personages were sometimes mixed with historical figures. Thus Pliny mentions a group of Priam, Helen, Credulity, Ulysses, Deiphobus, and Dolon. (c. xi.) Could any modern guess that Credulity was one of these figures? But Petronius will further show us, that Gods, Goddesses, &c. (why, Millin will soon show) were intermingled with the private history of individuals, in a manner which no person whatever, but those very individuals themselves, could possibly understand: "Erat autem venalitium titulis pictum, et ipse Trimalchio capillatus, caduceum tenebat, Minervâque ducente Romam intrabat. Hinc quemadmodum ratiocinari didicisset, dein dispensator factus esset, omnia diligenter curiosus pictor cum inscriptione reddiderat. In deficiente vero jam porticu, levatum mento in tribunal excelsum Mercurius rapiebat. Præsto erat Fortuna cornu abundante copiosa, et tres Parcæ aurea pensa torquentes.' Ed. Burman. i. 142-146. Now these matters merely refer to the private history of Trimalchion, which was like that of "the flaxenheaded cow-boy" in the popular ballad. Who could, however, understand it without the knowledge of his biography? But there are subjects on ancient Paintings which are as clear as daylight; and of such of these as are my thological, Ovid is the best illustrator, because that poet in particular seems to have taken his description from the marbles or paintings themselves. Nothing can be more minute and exact. We have no room for long quotations, and his works are common. So little, however, have these works been noticed, that the evident origin of Yewtrees in Church-yards, pointed out in the following lines, has been utterly disregarded: "Est via declivis, funestâ nubila taxo, Ducit ad infernas per muta silentia sedes; Styx nebulas exhalat iners, umbræque re Bacchants, the beauty and hair of Bacchus and Apollo, &c. &c. &c. Subjects, then, purely mythological may be clearly and certainly deciphered. For instance, the nuptials of Neptune and Amphitrite are depicted upon a vase in the possession of Mr. Hope, in a manner which cannot be mistaken, because every circumstance represented is to be found in the descriptions of Virgil and Ovid. There can, too, be no doubt, that the painting of a vase, which Millin caused to be engraved by Willemin, denoted the combat of the Athenians and Amazons in the Paix, under the protecting care of the tutelar deities of Attica. This appearance of gods and goddesses, in subjects denoting historical events, is thus explained by Millin, and, as he was a master of the subject, and the passage is very apropos, we shall give it in his own words: "Cette intervention étoit due a ce que la plupart des phenomènes de la nature étant alors inexplicables, on en attribuait la cause à l'influence immédiate de quelque être supérieur; il étoit tout simple de croire aussi que les grands événemens étoient une suite de leur volonté. Comme on donnoit aux Dieux une forme, un caractère, des occupahommes, il étoit fort aisé de les faire intertions, et des passions, semblables à ceux des des principales sources des beautés du poème venir parmi eux. Cette intervention est une épique, et des monumens des arts. Souvent aussi elle n'est pas directe, et n'est qu'une manière allegorique de s'exprimer ainsi lorsque Minerve paroit dans l'assemblée des principaux chefs, (II. i. 205.) cela veut dire qu'elle leur inspire de sages conseils (Vases peints, t. i. p. 118) et que la prudence força Achille à dompter sa colère. Le conseil que les Dieux tiennent pour décider du sort de Troie (l. iv.) fait voir qu'une action de des arrêts des Dieux. Les Artistes les ont recette importance, ne pouvoit dependre que présentés s'occupant aussi de déliberer dans d'autres occasions d'une grande importance; et peut-être que dans les poèmes cycliques, qui composoient l'Amazoneide, il étoit question d'un conseil tenu par les Dieux: c'est que semble prouver notre vase. M. TISHBEIN II. v. 2. a gravé deux fragmens de vases, de la seconde collection d'Hamilton, où on voit aussi des guerriers et des Amazones combatans, et au-dessus desMinerve et Apollon; ce qui prouve que les quels sont Jupiter, Junon, Venus, Diane, idées varioient sur les divinités auxquelles on attribuoit d'avoir alors sauvés la Grèce de l'invasion des Amazones, c'est à dire des barbares venus du nord.” From this passage, united with that of Petronius, it appears that when the ancients wished to allegorize history, they often did it by introducing Gods and Goddesses. The ancients had also paintings, which were called nixas. In these Aristides the Theban excelled. They were like those of Hogarth. The character was expressed by the countenance or gestures. Such was a Penelope (Plin. xxxv. c. ix). There was also a painting of Lascivia, in which the three Sileni were feasting, intended to represent 'Actλyna (Lascivia, &c.) Azyma (Salacitas) and Kapos (Comessatio.) In the pictura petulans many excelled, as Ctesilochus, a disciple of Apelles, who painted Jupiter in labour with Bacchus, and groaning like a woman, the goddesses assisting as midwives. Another Greek painter, we are told, “Pinxit minoribus tabellis libidines, eo genere petulantis joci se reficiens. (Plin. c. 10). From these instances we may infer, that the vices were represented by the pictura petulans, which does not only imply caricature, but fantastic additions, such as were tails in fauns, goats' feet in Sa tyrs, &c. In allegorical tales we find that habits and qualities were personified. Thus in that exquisite Milesian tale, Cupid and Psyche, we find "una de famulatione Veneris nomine Consuetudo (Apul. p. 123. Ed. Bisi.) and Sollicitudo et Tristities, her ancillæ." (p. 124). Such, however, is the variation of artists, that, in the numerous marbles and gems on this subject (the collection of Baron Stosch has many), we do not recollect any personifica tion of Custom, Care, or Sorrow. Upon the Roman coins, we have unceasing figures of good qualities; and Apelles certainly recorded the misrepresenta tion of himself to Ptolemy, by a painting in which were depicted Calumny, Ignorance, Mischief, Envy, &c. (See Lucian.) Upon some vases allusions to private history and character were certainly subjects of the design. It was customary to ensculp or paint upon them Victories and Quadriga. This image was so general, that Anacreon directs the goldsmiths, whom he had ordered to make one, not to put upon it a car, We must except from this eulogy the summons of the Gods to the Olympian Parliament, under a fine of 10,000/. for nonattendance. Id. 138. but on the contrary to represent Bacchus, Love, and his dear Bathyllus. If this vase was now discovered, it would of course be presumed to delineate some mythological adventure of Bacchus. We have no limits for extracts from Winckelman on Vases (annexed to the Gems of Stosch), Passeri Pict. Etrusc. in Vasculis, Count Caylus, Millin (whom we prefer to all), &c. &c. but shall give a passage from Evelyn on the subject, because it is interspersed in a mass of other matter. He names Mentor, of whom Martial speaks as a famous engraver of Vases; next to him Acragas, Boethus, and Mys, whose masterpiece was engraved at Rhodes, "especially those glorious vases and goblets of the Bacchanalia †, engraven by the forementioned Acragus, and of boscage, chases, and hunting. Famous also were Calamis, Antipater, and Stratonicus, who engraved the Satyr sleeping, a stupendous piece of art. Then there flourished Tauriscus of Cyzicum, Alistus and Eunicus, both of them Mytilenians; likewise Hecates and the renowned Praxiteles, about the time of Pompey; Posidonius of Ephesus, and Ledus, famous for representing of battles, &c. To be brief (for their works are endless), Zopyrus, who engraved the Court of the Areopagi in a cup, and the trial of Orestes. After him lived Pytheus and several others too long here to recite." Evelyn's Miscell. 272. Winckelman makes the following distinction between vases, properly speaking, i. e. according to him, Etrus can, and others. The Tuscans invent ed Gladiatorism, and combats at Funerals ; these last are commonly the representations upon their sepulchral in Greek ones: the Roman works by urns. There is nothing of this kind Greek artists are commonly charged with allegories alluding to human life; representations of death; Endymion sleeping; Naiads carrying away Hyllus; dances of Bacchants, and the nuptials of Thetis and Peleus (Hist. de 'Art. i. 142, 143). According to these show the respective nations to whom discriminations, the subjects would the vases appertained; but Montfaucon, who, if he had not Winckelman's skill had at least experience, says that We need not remind our readers of the inimitable Warwick vase; engraved in our vol. LXX. p. 1225. sports were common subjects of Etruscan monuments; and that on the vases in particular were generally represented hunting, single combats with clubs, bows, or sword, games at ball (invented by the Lydians, of whom the Etruscans were a colony), and the like. Suppl. v. III. b. 3. c. 4. We could mention other general accounts of the subjects, but presume that we have said enough to show, that, unless the subject of a vase-painting is clearly authenticated by corresponding descriptions in ancient authors, it may be utterly impossible to decipher it. D'Hancarville's Explanations of the Hamilton Vases may be often ingenious and always learned, but duty impels us to distrust them; for, says Horace Walpole, "The passion for systems did not introduce more errors into the old Philosophy, than hypothesis has crowded into History and Antiquities." (Anecdotes of Painting, i. 52. ed. Dallaway.) In affirming, however, that no exclusive system dictated the subjects of the paintings upon vases, we by no means say, that reference to the Eleusinian mysteries did not form the basis of some of them. We know that vases were used in the ritual of the Eleusinian mysteries; and we also know that the bas-reliefs upon the marble sarcophagus of Epaphroditus, are proved by Le Boze to refer to these mysteries. It is not likely to suppose, that when ceremonials were professedly secret, the initiated would explain them in writing, no more than modern freemasons would develope the meaning of the sun, moon, stars, compasses, squares, &c. which constitute their professional emblems, though they are daily made subjects of exhibition in seals, prints, &c. It was a rule with the Greeks, from commercial and lucrative views, to invite as many strangers as possible to visit their Temples, which object was also consulted in the Middle Ages, with regard to Thomas Becket's shrine, Our Lady of Walsingham, &c. Thus toys, indicative of the visits of pilgrims, like the French "Petits bons dieux," were sold on the spot. Mr. Dodwell, speaking of these very Eleusinian mysteries, says: à "It is certain that the superstition of Greece constituted one of the principal sources of its wealth, its civilization, its foreign commerce, and its superiority in the fine arts. The Oracles of Apollo, and the Mysteries of Eleusis, attracted the wealthy and devout, and the inquisitive of all nations. Sovereigns and states of the most distant regions vied with each other in the perfection and magnificence of their offerings. tries opened the eyes of the Greeks to the This continual intercourse with foreign counadvantage of foreign connections, and probably first directed their attention to the policy of colonizing distant territories." Vol. i. p. 584. Palms, Cockle-shells, Canterbury Bells, the hypothesis; for it is justified a priori; 3. Calvinistic Predestination repugnant to the general tenor of Scripture; shewn in a series of Discourses on the Moral Attributes and Government of God. By the Very Rev. Richard Graves, D. D. M. R. I. A. King's Professor of Divinity in Trinity College, Dublin, Dean of Ardagh, &c. &c. 8vo, pp. 454. Append. xcvi. THIS subject is so perpetually mistaken, that we think it will be useful to communicate to Laymen and general readers a clear understanding of the Scriptural meaning of Predestination and Election, as in our judgment it is undeniably substantiated by Bishop Tomline (Art. XXXIX. 300-320). The Predestination of Scripture seems only to apply to those nations to whom God thought proper to communicate the knowledge of Christianity: "Those whom God hath chosen in Christ out of Mankind," are that part of mankind to whom God decreed to make known the Gospel; and it is to be observed, that this expression does not distinguish one set of Christians from another, but Christians in general from the rest of mankind; and consequently" to bring them by Christ to everlasting salvation," does not mean actually saving them, but granting them the means of salvation through Christ. Pp. 300, 301. |