Identifier: archaeologicaljo54brit (find matches)
Title: The Archaeological journal
Year: 1844 (1840s)
Authors: British Archaeological Association. Central Committee Archaeological Institute of Great Britain and Ireland. Central Committee Royal Archaeological Institute of Great Britain and Ireland. Central Committee Royal Archaeological Institute of Great Britain and Ireland. Council Royal Archaeological Institute of Great Britain and Ireland Royal Archaeological Institute (Great Britain)
Subjects: Archaeology -- Periodicals Middle Ages -- History Periodicals Great Britain -- Antiquities Periodicals
Publisher: (London : Longman, Rrown,(sic) Green, and Longman
Contributing Library: Getty Research Institute
Digitizing Sponsor: Sloan Foundation

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Il. Insula IV. IIorsK 4. )No. 1. those that they cannot name); but this over-classicalnessof diction has led them to ignore that when the gods,heroes, and others are reproduced in the pictures ofPompei, they are always represented in conjunction withthe performance of some act in their history or in the livesof those witli whom mythology relates that they wereassociated. The faces figuring in the seven (not eight)little pictures in question represent no definite act or FAMILY rOKTllAns AT PO.MPEI. 19 event, though they possess several symbolic adjuncts, suchas the ivy and the thyrsus. Nothing more likely, then,can be their history than that they were portraits of a familywho wished to see their likenesses reproduced as Bacchiccharacters. We reproduce the woman and her repre-sentative of a child, too out of proportion for modernrequirements ; and we also show the so-called Paris,which is a woman, as can be seen by the pearl earrings,the hair hanging down the back, and the cupid looking
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POETEAIT FKOM POMPEI. Kegio IX. Insula II. House 16. over the shoulder, which is in the portraits of all thosewomen who appear to have been married. As for thestaff and cap, they were probably assumed by the younglady for the sake of effect. Another early and rough portrait in chiaroscuro is inIX, 2, 16, and represents one holding in each hand abronze flute, such as is to be seen in the ancient picturesand mosaics, with both mouthpieces in the mouth at the c 2 20 FAMILY PORTRAITS AT POMPEI. same time: here, however, he is holding the two portionsapart. He is extraordinarily dark, almost copper-coloured,as if of Asiatic origin, and his eyes are very small, whilehis cheek bones are prominently high. This is an in-teresting portrait, as a proof of the Ijlood possibly infusedinto ancient Pompei and Italy. The portrait of Paquius Proculus and his wife is so wellknown and so unmistakable that it does not need specialillustration here ; but I would quote the lines from p. 323of Girards La Pe

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