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OUTLINES
FROM THE
UPON THE
rr
;
OUTLINES
FROM THE
ENGRAVED BORDERS.
MR. KIRK.
<r
LONDON
PUBLISHED BY WILLIAM MILLER,
OLD bond-street;
PRINTED BY W. BULMER AND CO. CLEVELAND-ROW, ST. JAMES's.
MDCCCIV.
INTRODUCTION.
fore shortly state, what this book contains, and then make
Hamilton.
11 INTRODUCTION.
Mr. Kirk, from the two works of the late Sir William
Hamilton ; the first, in four volumes folio, the second in
three, edited by Tieschbien, which cannot together be pro-
cured for less than fifty or sixty guineas. They were
selected by Mr. Kirk, on account of the beauty of their
composition, and the elegance and truth of their indivi-
dual forms. It is probable, had he lived, that this work
would have been still more extensive, as one of the ori-
ginal volumes has been published since his death. There
was another object also, which he always kept in view, and
that was, the rejection of all those designs from his collec-
tion, which tended in any degree to indelicate expression.
The various beautiful borders which surround these de-
signs, were not so placed in the original vases, but served
lowish red colour. When made and dried, but probably pre-
vious to undergoing the action of the fire, some instrument
rather hard and capable of containing a portion of black
had, at the edge of this first black, been twice laid over.
And that this part was done by the same artist, who drew
the outline, is probable, because in some instances he has
and baked.
The Public, as has been before observed, are indebted to
thus that the arts are advanced, for in every art good
models, by stimulating the imagination, whence arises
'*
be generally admitted, and its perfection as generally
are excellent.
pictures, and vases, but for the pure and classical taste,
are the subjects, and from which the few following detached
observations are taken,
Great.
fiftieth Olympiad.
XIV. From thence to the time of Phidias.
XV View of the arts from Phidias to the hundred and
twentieth Olympiad.
XVI. On expression.
INTRODUCTION. IX
and perhaps the larger vases were placed either for orna-
d
XU INTRODUCTION.
painted upon it, and upon this subject the following ob-
servations may not be without their use. Isidorus informs
us in the thirty-fifth chapter of his seventeenth book, that
INTRODUCTION. xiii
ties in their favour. Greek art had her infancy, but the
Graces rocked the cradle, and Love taught her to speak.
If every legend deserved our belief, the amorous tale of
xiv INTRODUCTION.
express painting, being the same with that, which they em-
ploy for writing, makes the similarity of the tool, materials,
shade, but with some addition of the parts within the out-
at the supposed
momentaneous production of the Hercu-
lanean dancers, and on the earthen vases of
the ancients
will cease ;
or rather, we shall no longer suffer ourselves to
be deluded by palpable impossibility of execution
; on a
ground of levigated lime, or on potter's ware, no velocity
or certainty attainable by human hands, can conduct a full
pencil with that degree of evenness equal from
beginning
to end, with which we see those figures
executed, or if it
could, would ever be able to fix the line on
the glassy
surface without flowing make
its : to the appearances we
see possible, we must have recourse to the linear process
that has been described, and transfer our admiration to
the perseverance, the correctness of principle, the elegance
degree, the Editor will not think his time has been mis-
employed.
Pl.l
2
PI.
SOME ACCOUNT, &c.
PLATE I.
PLATE II.
PLATE III.
PLATE IV.
In this Plate we may evidently discover the character of
Bacchus; he crowned with myrtle, and
is is offering a
branch of sesamum upon an altar. He holds a pastoral staflF
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[3 ]
PLATE V.
Jleur de lis. Upon the vase itself, also, this forms the orna-
ment round the upper part. The female seems to be
pouring some liquor upon the altar from the praefericulum,
a vessel used in sacrifices and upon the side of the altar
;
PLATE VL
This is probably the figure of a priestess of Bacchus, and
seems dressed in a hassaride, a species garment, said to
[ 4 ]
PLATE VII.
PLATE VIII.
This painting represents a scene in a comedy ; and the
pine-apple placed between the two figures may be intended
to shew, that these scenic entertainments are consecrated
PI.
PI. 8
[ 5 ]
in each hand.
The mask, which the actor wears, is that of Sosius, and
represent the countenance of Socrates and
was formed to ;
those of Attica.
The double which was of very early invention,
flute,
of Thespis.
very remarkable in
The expression of this design is ;
PLATE IX.
The subject of this Plate is unknown, at least there is no
account of it in Sir William Hamilton's work. It is a
simple but very beautiful composition, and the attitudes
of
both the figures is pleasing and elegant.
PLATE X.
This design is said to represent
Apollo in pursuit of
Daphne he is in a travelling dress, with the hina hastilia
;
PLATE XL
We have been unable to discover the individual characters
of this design, in which the actions both of the horse and
figures engaged in battle are finely imagined and well
combined.
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PLATE XII.
northern part of Scythia, and are said to have had but one
PLATE XIII.
PLATE XIV.
The subject of this design is supposed to be Ariadne. She
has ^ferula in her hand, as a
symbol of Bacchus. This
princess is remarkable for her hair,
which reason for
Homer gave her the epithet of " the
beautiful-haired
Ariadne." Aratus says, that the diadem,
which she wore,
was put among the number of the stars.
This is probably
the reason of the figure of a star
placed near the female
genms of Ariadne. This genius holds
a patera filled
with the grain of the sesamum and
we may also observe
;
PLATE XV.
This Plate seems to represent a female, about to make an
offering of an animal, which resembles a rabbit or hare, to
motive among the ancients for sacrificing the sow and the
goat.
PLATE XVL
This genius has in one hand the vase containing lustral
PLATE XVII.
Whenever a female was represented sitting upon a stool,
it was always a mark of dignity among the ancients, and
when to this was joined the patera, or bowl, held near the
head, it became a sign of some divinity. By these marks
we may know, that this painting represents Ceres, with
two of her initiated priestesses near her : one of them
carries the cystus with the prasfericulum. The goddess
herself is holding a mirror. In almost all the processions,
PLATE XVIII.
The subject of this Plate is unknown.
[ 12 ]
PLATE XIX.
Pliny in his 34th book, 28th chapter, mentions, that among
the works of Hegias and Ctesilaiis, two famous sculptors,
there was one called Piieri Celetizontes, or youths contesting
a race on horseback ; and it is not therefore very impro-
bable, that this Plate is a design from one of those artists. The
column may have been placed there either by the sculptor
or the painter, in imitation of those in Olympia, in the val-
ley, or recess, called Altis. Pausanias speaks of many statues,
PLATE XX.
When Jupiter was in love with Semele, Juno through
jealousy wished to destroy her rival ; for this purpose she
transformed herself to one of the female attendants of this
young princess, and persuaded her, that it would be proper
and becoming in her to have Jupiter visit her with the
same pomp and ceremony, with which he went to see Juno.
ri.is.
ri.2o.
PI. 21
[ 13 ]
Semele any request she made him, came into her palace in
a car, surrounded with his thunderbolts. It is most probable,
PLATE XXL
Among the ancients the women were never accustomed to
sit, or recline upon the beds or sofas with the men, except
in the different feasts,which were dedicated to any of the
gods hence Cicero, in one of his orations, makes a person
;
say, that it was not a custom among the Greeks for the two
PLATE XXII.
There is no account of the subject of this Plate given by
M. D'Hancarville, nor have we been able to discover any
thing satisfactory about it.
PLATE XXIII.
That this is a representation of a feast of Venus, is discer-
nible by the dove, with the fillet placed near it, as well as
by the branches of myrtle and the pearl girdles, which the
goddess and her priestesses wear. Two symbols are placed
on the symbolic pillar of Bacchus ; one is a pine apple,
indicative of that god as well as of Cybele, the other
may
probably be the bmtilus in the shape of a small urn, which
denotes Venus ; the armed figure signifies the god of war,
whose connexion with the goddess, to whom this feast is
consecrated, needs no explanation ; she was often repre-
sented in armour, particularly, according to Pausanias, in
her temples at Lacedemon and Corinth several gems cor- ;
PLATE XXIV.
Dancing, among the ancients, was perhaps a matter of
greater importance than with us. Liician gives a long ac-
count of it, and both Plato and Xenophon assert, that it was
regarded as a matter of great consequence with respect to
manners, and even of use in war ; and was therefore
worthy of the serious attention of legislators. Plutarch also
informs us, that the Athenians bestowed rewards upon the
best dancers, and in the celebration of certain festivals,
Lycurgus ordered the Lacedemonian girls to dance naked.
And it was rather a common custom (see Anthologia,
book iv. chap. 25, ep. 6). for the dancers to fasten their
robes round their waist by means of a girdle. This was
probably the case in a particular dance called Ko^Scc^ or
PLATE XXV.
This beautiful painting consists of a genius supporting
himself upon a symbolical column. If beauty and elegance
be marks of goodness, this must be the good genius called
Agathodemon. The Athenians erected statues to him;
and according to Paiisanias there was a chapel in Lebadia
dedicated to him, in conjunction with Fortune, of whom
perhaps this column may be symbolical.
PLATE XXVL
Throughout the whole series of Plates in Sir William
Hamilton's large work there are a vast number, which
have no explanation whatsoever to them. The grounds
even of conjecture seem to be wanting. In some instances
we have endeavoured to elucidate subjects, upon which
M. D'Hancarville has been silent ; in the present we
must follow his example, for simple as this composition is,
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[ " ]
are about to offer him. This hero is with a party of his Argo-
nauts, with whom he landed on the coast of Africa. The
rest of his associates are supposed by the painter to be on
board the Argo. In Plate XXVIII. Atlas is sitting hold-
which
cative of the family of Uranus, and the relationship,
connects them with Jupiter. The daughters of Atlas were
seven in number after their deaths they were placed among
;
PLATE XXX.
This design consists of two figures, one of which carries
upon the cystus a globe, as an indication of the sun: the
PLATE XXXL
The subject of this Plate is unknown.
PLATE XXXIL
The two females, represented in this design, have each
PLATE XXXIII.
In this painting we may observe two indications of
PLATE XXXIV.
This painting seems to represent some of the rites or orgies
PLATE XXXIII.
In this painting we may observe two indications of
Bacchus, by means of the globe or sphere. Attached to
PLATE XXXIV.
This painting seems to represent some of the rites or orgies
of Bacchus. The priestess is playing upon the double
flute, invented by Minerva. The genius is probably
Acratus, one of those, who, according to Pausanias, gene-
rally accompanied Bacchus.
In the dancers we easily recognise, both by the actions
PLATE XXXV.
This seems to represent a domestic ceremony in honour of
some god, whose symbol is held by one of the females.
PLATE XXXVL
One of the three figures, of which this beautiful design
is composed, seems to represent Volumnia, the mother of
Coriolanus, namely, the one that is seated. Hersilia, her
same time her foot is seen to have been drawn back, with
the design of getting up, and going to seek Coriolanus.
Nothing more simple than the design of this little
is
bricks, so called.
PLATE XXXVII.
This design appears to allude to the nuptial bath, as the
bride holds in her hand a mirror, and a box containing
the nuptial presents the pronuha has a band or girdle in
;
m.
H^m^^mmm^mmmmmmmMm^.
[ 25 ]
PLATE XXXVIII.
The subject of this Plate is probably connected with the
PLATE XXXIX.
It is perhaps very difficult to discover the meaning of
PLATE XL.
the girdle of
HiPPOLYTA, queen of the Amazons, wore
over:
Mars, as an emblem of the country she reigned
the daughter of Euristheus, became
envious of this
Adm'eta,
In consequence
honour, and wished to possess the girdle.
orders to procure it.
of this desire, Hercules received
this god under-
This is the ninth of the labours, which
immediately went
took at the request of his brother. He
banks of the river Thermodoon, which the
Amazons
to the
with, and hating
inhabited. Juno, always at variance
;
[ 36 ]
it may
denote the illustrious birth of the hero the :
PLATE XLI.
Perhaps there no one of the designs upon any ancient
is
buckler as
open the procession, the conquerors obtained a
PLATE XLII.
of his father,
of Telemachus, to gain some information
prince, accompanied by Pisistratus, the
son
this young
of Nestor, went to Pylos. Menelaus, being acquainted
that they shed tears. When Helen heard the names of these
strangers, she ran to see them, and even wished to give
affected at
Telemachus some further account of Ulysses ;
prepared a liquor,
the marks of sorrow he evinced, she
four-
which had the power of banishing, for at least
and-twenty hours, every trace of grief in the
human mind.
the bowl, and
She ordered one of her women to present
persuaded him to take it. It is not easy to determine,
Menelaus,
whether the figure, that is leaning upon a staff, be
or not. Telemachus is dressed as described
by Homer.
[ 28 ]
PLATE XLIII.
This Plate in fact comprises two distinct paintings, which
are upon the same vase, but on opposite sides of it, and the
cohimn, which is here placed in the centre of the two,
belongs in reality to the one on the left hand. The three
figures on the right are supposed to represent Apollo,
Diana, and one of her nymphs. The first is known by his
laurel crown, he has also a bow in his hand ; Diana is on
the left, with a doe by her side, while one of her nymphs
is standing between them with another bow. The other
painting on the left is supposed to represent a poet and
musician, to whom a third figure is presenting a sphere,
an indication of the god of poetry, whose praises he pro-
poses to them to celebrate, as they are supposed to have
already done at Delphi. This god is also represented by
the symbolical column, seen in the middle of the plate.
The points, which appear upon its shafts, may serve
perhaps to point out the solar days. In these two paint-
ings then, it is supposed modes of represent-
that the three
ing Apollo are discoverable, by indications, by symbolical
columns, and by figures.
PLATE XLIV.
The subject of this Plate is unknown.
Pl.l"
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n.-'iA
[ 29 ]
PLATE XLV.
In this elegant composition Ceres is represented sitting on
a chair, and holding in one hand an instrument which was
probably used in some department of agriculture, by the
Greeks. The mystic vannus is placed between her and the
genius, who is holding a crown, which indicates one of the
priests of the Themosphori, who was called the crown-
bearer; the book, which this genius presents to the god-
PLATE XLVI.
This sweet design is supposed to represent some female,
being adorned either for the purpose of going to the theatre,
[ 30 ]
PLATE XLVII.
The ancient monuments both of the Greeks and the
Etruscans, evidently prove, that a variety of places, both
public and private, towns, fountains, baths, seasons, men,
women, and even the gods themselves, had their particular
genii. Horace says that he had one, who presided over the
star of his birth,
PLATE XLVIII.
This Plate seems to represent a sacrifice to Bacchus,
which is the more probable from the figures being crowned
with wreaths of myrtle. The figure next to that, which is
PLATE XLLX.
The vase, from which this design was taken, was conse-
crated to Bacchus, and the design itself lepresents a festival
in honour of that god. The cuirasses, we may observe,
are similar to those worn by the conductors of the cars,
that are used in the circus ; the buckler is the same as that
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[ 33 ]
and foot.
PLATE L.
PLATE LL
We discover in this design the remains of two indi-
may
cations of Bacchus the one is the vine leaf, and the
;
a female figure ; she has also in her other hand one of the
same crowns or wreaths as the genius holds ;
these are
[ 34 ]
PLATE LII.
PLATE LIII.
PLATE LIV.
On the first view this composition appeared to be a repre-
sentation of Cassandra foretelling the fate of Troy to
character.
It is scarcely necessary to expatiate on the beauty of
this design ; its superior merit is a suflftcient recom-
mendation.
PLATE LV.
The offerings made by the ancients to their deities, con-
sisted of three kinds, libations, incense, and victims. This
Plate represents a libation. All the figures are in the
Y\.5i
[ 37 ]
is sometimes
that he may either drink it immediately, as
or carry it home and preserve it as a sacred
the case,
thing, and well adapted to prevent disease
and every kind
of misfortune.
The second figure is that of a Prospolus, or priest of the
mixed with salt, and in the other a vase, filled with wine.
PLATE LVI.
This design represents Apollo seated in a winged car, he
holds a patera in his hand, for the purpose of receiving the
libations of those, who go to consult him. Behind the god is
PLATE LVII.
PLATE LVIII.
This Plate probably represents Autolicus, a conqueror in
the Pancratian games ; the same person, in honour of whom
Leochares made a which Pausanias says he saw in
statue,
PLATE LIX.
The subject of this Plate is taken from the fourth act of the
tragedy of Euripides, called Iphigenia in Tauris. The
characters, introduced, are Iphigenia, a female attendant,
G
[ 42 ]
PLATE LX.
The Epigoni, having taken the city of Thebes, immedi-
ately thought of fulfilling the vow, which they had made to
last fell a prey to her affliction. The god, whom she had
served with the most exemplary piety, wishing to pay an
honour to the tears she shed for the fate of her country,
transformed them into a fountain, which was called the
fountain of Claros. Its waters were said to be endued with
the power of unfolding futurity.
This Plate represents Manto, as listening with atten-
tion and respectful veneration to the oracle, which the
priestess, who is on the opposite side of the tripod,
pronounces.
PLATE LXI.
It was frequently the custom among the ancient Greeks,
when the bridegroom
entered the nuptial bed, to rub
first
Fecundity,
have three dimensions in fact, the Genius of
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[ 45 ]
PLATE LXII.
said to represent some of
This interesting composition is
[ 46 ]
hand.
Printed by W. Bulmcr nd Co
Cleveland-row, St. James's.
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