Cambridge University Press 978-1-108-42012-9 — Painting, Ethics, and Aesthetics in Rome Nathaniel B

Cambridge University Press 978-1-108-42012-9 — Painting, Ethics, and Aesthetics in Rome Nathaniel B. Jones Index More Information

Index

Achilles, 12, 57, 60, 81, 83, 103, 173, 174, Apelles, 20, 21, 120, 125, 157, 193, 195, 216, 175, 190 224, 226 shield of, 173–175 Aphrodite, 109, 207, 213, 232, 233 Achilles Painter, 211, 212, 213 Aphrodite Anadyomene, 113, 119, 129, 130, Actaeon, 177, 178 157, 193 Actium, Battle of, 110, 117 Apollodoros of Athens, 18 Aeneas, 101, 102, 103, 104, 190, 224 Apulian red-figure painting, 60–62, 171 Aeneid (Vergil), 29 Arcesilaus, 126 aesthetic(s) Archaic Style, 57 autonomy of, 48 Archdukes Albert and Isabella in a Cabinet of dual deployment of, 48, 49–50 Curiosities, The,57 judgment, works of art, 47 archives, written vs. material, 25 of art consumption, 135–136 Ardea, 18, 19, 20 text, 49 Arellius, 20 value of art, 113 Argus, 139, 142, 182, 183, 185, 188 Agamben, Giorgio, 196 Ariadne, 199, 214 Agatharchus of Samos, 159, 160 Aristotle Agrippa, Marcus Vipsanius, 118, 149, dual nature of pictures, 154 191, 195 logic, paradigmatic, 196 Ajax, 57, 118, 119 painted panels and memories, comparison, Alexander the Great, 119, 224 152–153 Alexandria to metaxu in De Anima, 145–146 lighthouse of, 110 art painters’ workshop from, 109 history of, 22–26 Alexandrian progression of styles, 222 architecture and paintings, influence on Roman conception of, 229 Roman paintings, 111 Artemis. See Diana painters, 110, 129 artistic tombs, 169 culture, ancient, 195 Alexandros the Athenian (Knucklebones fiction, 47, 63 Players), 22, 23, 72, 85 media, 144, 157 Alma Tadema, Lawrence, 39 medium of painting, 145 anachronism, 195, 196, 197, 204, 229 motifs, 111 Andromeda, 185, 186, 188, 189 production, 9, 24, 48, 59, 197, 204 aniconic markers, 106, 108, 109 representation, 140, 173 aniconism, 108, 109 style, periods, 222 See also style, artistic Anthony, 101, 117 artistic value, paintings of paintings, 4 Antichità di Ercolano esposte, 16, 17 artwork, conception of publication of Herculaneum paintings, 16 art history, 7 Antikythera, 218 central figurative scenes, 88 Mechanism, 219 Farnesina murals, 227 Antiochus Galbinius, 21 modern, 56 Antiphilos of Alexandria, 120 of paintings (tableau),55 Antony, Mark, 117, 118 paintings, 5 283

284 Index

Asclepius, 216 Classical Greek vases, 62–64 Athena, 118, 224 classical style, early, 192 Athenaeus, 126, 217 Claudius, 195, 225, 226 Athens Cleopatra and Caesar, 111 ornaments of, 114 collections Stoa Poikile, 112 of art, 216, 217 atmosphere at the Farnesina, 227 immaterial, 140 at Forum of Augustus, 226 in central landscapes, 148 of poetry, 217 physical presence of, 147 structure of, 217 surrounding figures, 143 of styles, assemblage, 229 atomism, Democritean, 146 temporal manipulations, 221–222 atomist theory of vision, 146, 147 coloristic technique, Hellenistic period, atomistic philosophy, 32 208, 222 atomos, concept of, 32 color, uses of and light, 213 Baia, 192 as medium, 145 Baumgarten, Alexander, 48 as picture frames, 34 Bergmann, Bettina, 224 black (Black Room), 148–149 Berlin Foundry Cup, 57–60 white, 140–143, 148, 169 black-figure technique, 57 conceit Bolter, Jay, 138 architectural, 112, 148 Boscoreale, Villa of P. Fannius Synistor, 41, 54, at Farnesina murals, 215, 234 77, 128, 141, 158 in Herodium paintings, 134 Boscotrecase, Augustan Villa, 42, 43, 148, 149, light-source as, 152 190, 191 of plane of representation, 52 pictorial, 91 Caere, 18, 19 representation of representation, 1 Caesar, Julius Second Style, 81, 141, 222 cult status of, 65 conquest, Greek art in Rome, 29 death of, 101 convergences, perspectival, 158, 159, 162 Forum of, 126, 129, 224 copy painted panels, public influence to, 118 criticism (recovery of lost), 108 Caligula, 18, 19, 110, 193 discourse of, 182 Calleixenus of Rhodes, 217 of Greek paintings, 7, 179 Cameo, 65, 66 investigation of Roman, 180 canon, literary and artistic, 26, 27, 30, 165 works of art, reproduction of, 180 See also Carettoni, Gianfilippo, 98 House of Livia; original Cassius Dio. See Dio Cassius Corinth, 114, 119, 122, 222 Cato the Elder (the Censor), 114, 115, 116, Cretan Cycle, 198, 199, 203 124, 135 Cupid. See Eros Catullus, 31 Cybele, cult of, 108 Catulus, Quintus Lutatius, 95 celluloid, 233 Daedalus, 43, 84, 198, 200 drawing of Aphrodite and Eros on, 232, 234 Damophilos, 21 Cestius, Gaius, 130, 131, 150 decor, 32, 227 Choephoroi Painter, 187 Delos, 73, 111, 218 Christian view of art, 194 Delphi, 15 Cicero, Marcus Tullius Demetrios (painter), 21, 110 on his art collections, 125, 129 Democritus, 146, 159, 160 on artworks in Rome through conquest, 223 Derrida, Jacques, 47 on Lucullus, 126 paradox of the frame, 48, 50 on immediacy of vision, 145 Diana, 107, 108, 177, 178, 182

Index 285

Digest of Justinian, 87 content and format of, 132 Dio Cassius, 121, 124 as an exemplary paradigm, 197 Dionysios (painter), 21 logic of super-genre, 133 Dionysus and satyr, painting of, 52–54 objects of art history, 179 disruption, of fiction and painting, 5, 55, 207 political aspect, 135 See also doubling and disruption super-genre, 132–134 Dorotheus, 193, 195 and wall paintings, 67, 88 doubling, 36, 55, 92 See also disruption; figural paintings, 67 doubling and disruption First Style, 41, 42, 152 doubling and disruption, 35, 37, 132, 164 Forum of Augustus, 224–226 See also disruption; doubling Hall of the Colossus, 225 drama, Roman, 165 paintings, political message of, 225 dramatic masks, 12, 63, 81, 99, 206, 214 Fourth Style Drerup, Heinrich, 158, 159 in Campania, 42 materiality, inconsistence with, 77 Edict of Diocletian on Maximum Prices, 87, 129 mythological paintings, 201 Edwards, Catherine, 96, 165 wall paintings, 43, 87, 173, 198 Egypt and Rome, cultural ties. See Rome and frame, enclosed in (peplaisiōmenos), 80 Egypt, cultural ties frames and framing Egyptiana, 109–110 concept of, 17–18 Elsner, Jaś, 44, 110, 155, 195, 214 Derrida, Jacques on, 47–48 embedding, 4, 47, 62, 86–87, 173 Harries, Karsten on, 47 encaustic, 21, 60 importance of, 6, 16 Encolpius, 216 paradox of the frame, 91–92 encyclopedism, 223 frameworks, spatial depth, 52 Endoios, 224 frescoes. See murals Engemann, Josef, 161 fresco techniques, 87, 228 Ennius, 30, 165 Fruit Gallery. See oporotheca ensembles Furtwängler, Adolf, 180 architectural, 88, 158 decorative, 40 Gaifman, Milette, 108 of fictive paintings, 7, 179, 197, 200, 204 Galatea, 182, 184, 189, 190, 191 fresco, 16 gaze, 163, 173, 201 at the House of Pompeii, 200–202 Gee, Regina, 44 mural, 4, 10 genre. See fictive panels Epicurean philosophy, 32 German Archaeological Institute, line drawing Eros, 3, 182, 189, 190, 193, 201, 232 of Farnesina, 233 ethics, of art, 94 Gnosis, 213 value of, 113 Gombrich, Ernst, 153 See also seeing-as; Etruscan, 21 seeing-in Exekias, 57, 58 Gordon, Richard, 26 exemplarity, 179, 196, 222 Gorgasos, 21 Grau, Oliver, 155 Fabius Pictor, 20 Greco-Roman art, history of ancient, Famulus, 20, 25 9–10 Farnesina. See Villa of Farnesina Greek art Feeney, Dennis, 30–31, 221 classical, 24 fictio,34–35 desirable and censurable, 125 fiction, dual valences of, 35–38 Roman reception of, 29 fictive, definition, 35 transformation in Rome of, 33 fictive paintings, 54 Greek panel paintings. See Italic (Roman) wall fictive panels paintings aspects, manipulation of, 179 Greenberg, Clement, 230

286 Index

Gruen, Erich, 27, 114 as private space, 96 Grusin, Richard, remediation, 138 social significance of, 94–97 gymnasium, 15, 220 Hutchinson, Gregory, 25, 132 hypermediacy, 138, 143 Hadrian, 169, 195 Hallett, Christopher, 27 Iaia of Cyzicus, 21, 25 Harries, Karsten, 47 Icarus, 198, 199, 200 Hecate, 107 ichnographia, 159 Helen, 18, 110, 112, 201, 203 iconography, 15, 74, 109, 113, 194 Hellenistic Mediterranean, circulation of Egyptian, 109 painting within, 89 Ideal Sculpture. See mythological sculpture Hellenization, 27 Iliad, 60 of Roman elite, 31 Iliupersis Painter, 169, 171 Hephaistos, 60, 173, 175 Illusion and immersion, techniques of, 7, 137 Hera, 142, 182, 187 images of images, on coins, 64 Herakles, 60, 61, 62, 118, 126 imitation Herculaneum of Classical Greece, 180 discovery and excavation of, 11, 38 paradigm, model for, 195 paintings from palestra of, 5, 12, 13, 14, 22, immateriality, white color, 140 24, 37–38 immediacy Winckelmann’s approach to, 11–14, 33–34, enargeia, 145 39–40 of exemplarity, 196 Samnite House, 40, 41 and hypermediacy, dual logic of, 138, 143 Villa of the Papyri, 50–52, 75 limits of, 178 Hercules. See Herakles and remediation, 155 Hermes, 139, 142, 182, 185, 221 of visual representation, 175 Herod, 134 immersion Herodas, fourth mimiamb, 216 asymmetrical perspective, 161 Herodium, 133, 134, 135 illusion of, 155–157 Herodotus, 108 and isolation, 229 Heslin, Peter, 103 murals, potential for, 138 Hippolytus, 201 Roman mural painters, technology of History of the Art of Antiquity (Winckelmann), illusion, 155 5–6, 11, 16, 24, 34, 39 Second Style perspective, 207 in comparison to Description of Greece impact of Greece on Rome, 28 (Pausanias), 14–15 information, visual presentation of, 145 Holliday, Peter, 102, 222 intertextuality, 31, 65–66 Hölscher, Tonio, 226 inventories, Delian, 75, 81, 88, 112, 142, 143, Homer, 12, 31, 174 145, 208, 218 See also panel paintings, Horace, 29 formats of in the Delian inventories House of Augustus, 96–101, 166 Io Lower Cubiculum, 167 and Argus, 139, 186, 187 Room of the Masks, 98, 104, 106, 141 arrival in Egypt, 188 House of Livia and Polyphemus paintings, 190, 194 mythological paintings, copy discourse, Iser, Wolfgang, on the fictive, 35 182–185, 189 Isis, 72, 109, 185, 188, 206, 207 reality and illusion, tension between, 140 cult of, 111 tablinum, 139, 141, 145, 154, 166 Italic, 21, 27, 30 House of Octavius Quartio, 175–178 Italic (Roman) wall paintings houses Pliny on, 18–19 of Marcus Aemilius Scaurus, description Pliny on panel painting, 19–20 (Pliny), 95–96 in comparison to Greek panel paintings, paintings of paintings in, 113 6, 18

Index 287

Josephus, Flavius, 72 materiality, 228, 229 Judea, 133, 134, 135 Mau, August, 40, 45, 46, 69, 70 See also Juno. See Hera Pompeian Styles, Four Jupiter. See Zeus Medea, 118, 201 mediation, 113, 138, 173, 234 Kant, Immanuel, 47, 48 Mediterranean art, development of ancient, 24 Kazanlak, Thracian tomb paintings at, 213 medium, 137, 167, 173, 179, 188, 229, 230, 234 Keeline, Tom, 31 concept of, 144 Kerch Sarcophagus, 89–90 duplicity of, 147, 149 Kittler, Friedrich, 146 and materiality, 137, 139 Medusa, 177 Labyrinth, 84, 85, 198, 199 megalographies, at Villa of the Mysteries, landscapes, 130, 132, 133 67–70 Lanuvium, 19, 20, 184 Meleager, Garlands of, 217 Latin vocabulary Mercury. See Hermes of architecture, 32 meta-art, 156 Greek vs., 32–33 meta-literary devices, 65 Leach, Eleanor Winsor, 69, 133 meta-painting, 4, 55–56, 138, 155, 231 Leochares, Apollo Belvedere, 192 Roman, 173 Letter on the Herculaneum Discoveries meta-pictoriality, 64, 65 (Winckelmann), 11, 22 Metellus Macedonicus, Quintus Caecilius, 119 Lippold, Georg, 180 Miles, Margaret, 116 lithograph, 105, 139, 233, 234 mimesis, techniques of, 47, 58, 175 Livius Andronicus, 31, 165 Minos, 198, 199, 204 Livy, 28, 114, 115 Minotaur, 84, 198, 199, 200 Lucian, 12, 26, 193 mirrors and mirroring, 173, 175 Lucilius, 32, 36, 37, 171 Mitchell, W.J.T., meta-pictures, 4 Lucretius, 32, 146, 147, 159 modernist canvas, and Roman fictive panel, Lucullus, Lucius Licinius, 126, 129, 135 231–232 ludi scaenici, 163, 165 Modernist Painting (essay, Greenberg), 230 luxury modernist paintings, 230, 231 expression of, 115 Mondrian, Piet (Trafalgar Square), 230, material, 41 231, 234 as moral decline, 115 monochrome, 151, 152, 156 pleasures without, 6 mosaic, emblemata,83–85 in private life, 96, 116, 125 Mummius Achaicus, Lucius, 116, 119, 122, 222 self-indulgence, 93 mummy, portraits, 71 Lykaon Painter, 209 murals, 2, 3, 90, 140 as cost-effective substitute, 129–131 McKenzie, Judith, 111 mythological paintings, 182, 198 McLuhan, Marshall, 138 mythological sculpture, 180 Magna Graecia, 12, 28 Magna Mater. See Cybele, cult of Naevius, 31, 165 Maiuri, Amedeo, 87–88 Nagel, Alexander, 194 marble, view of, 144 naiskos, 168, 169, 172 Marcellus, 28, 113, 116, 122 Naples Marconi, Clemente, 61, 62 archeological museum, 75 Mariani, Gregorio, 139, 233, 234 excavations at, 11, 201 Marin, Louis, 143 Narcissus, 77, 176, 177 rupture and interruption, 55 Natural History (Pliny), 7, 19, 20 Mars Ultor, 101, 102, 121, 157, 224 Naxos, 199 Marx, Frederick, 37 Neer, Richard, 59 masterwork, 193, 194 Nero, 193

288 Index

Nike, 61, 224 without shutters (athurōtoi), 76, 78, 207 Nikias, 185 panels and murals as model for House of Livia painting, contrasting approaches, 45 186–188 tension between, 46 Nile River, 109, 110 Panofsky, Erwin (“The History of Art as Niobe, 22 a Humanistic Discipline”), 48–49, 160 Niobids, playing knucklebones, 22, 72 paradigm, Platonic, 195 Nodelman, Sheldon, 54–55 paradigm (paradeigma) Numa Pompilius, 36, 108 concept of, 195–196, 197, 229 Nyssa, nymphs of, 208 formation, dynamic model of, 179 as model for imitation, 195 Octavian. See Augustus parergon,47 Odysseus, 15 Paris, 110, 112, 201, 203 Odyssey landscapes, 67, 68, 79, 198 Parrhasius, 37, 74 opacity. See transparency and opacity Parthenon frieze, 189 Oplontis, Villa A, 44, 162, 163, 168 Pasiphae, 43, 198 oporotheca, 126, 127 Patroclus, 12 original patrons, 21, 88, 113, 145, 158, 195, 214 and copy, unidirectional model, 179 Pausanias, 14–15 context, 33, 38 Pella, 213 relationship to copy, 185, 197 Penthesilea Painter, 210, 213 environments, 46 See also copy perception, 145–147 orthographia, 159 Pergamene tapestries, 130, 150 Ovid, 65, 72 Pergamon, 116 pergula pictorum,37 Pacuvius, 20 periaktos, 139, 141, 142, 143, 166 paintings of painting, 1 peristyle, 62, 98, 99, 214 ambiguity of, 137 Perry, Ellen, 192 appearance in political and social Roman Perseus, 185, 189 world, 93 persona, public, 94, 96, 133 embedded fictions, 37 perspective construction, 158–162 key to, 34 perspective paintings. See scene paintings pinacothecae,46 Petronius, 127, 216 remediation, 194 Phaedra, 201, 202 Palace of Domitian, 1–4 Phiale Painter, 188 palestra. See Herculaneum Philostratus, 87, 190, 217 Palestrina Nile Mosaic, 110, 111 pictorial illusion, 37 panel and mural painters, division of, 21–22 Picture Gallery. See pinacotheca panel paintings, 9 pinacotheca, 85, 126, 128, 215, 216, 226 fictive, mural, 88 pinax. See panel painting material supports for, other, 72 Pinus, Cornelius, 20 physicality of, 70 plaster, 19 Roman-Egypt, examples from, 71–72 Plautus, 65, 86, 165 transferability, 137–138 Pliny the Elder, 18, 25, 127 panel paintings, formats of in the Delian art-historical books, division into media, 144 inventories, 73 domestic decoration, complex interactions ceiling coffers (orophikoi), 81, 208 of, 95 embedded (emblētos), 83, 85, 86, 88, 152, 207 Plutarch, 115 in friezes (makroi diazomatikoi),80 poems, garlands of Philip and Meleager, 217 hanging, (ērtēmenoi), 81 poetry, 30, 31, 35, 199, 201, 204 pierced (tetrupēmenos), 81 Poikilia, 57 on top of bases (epi baseōs), 82 political art with shutters (tethurōmenoi), 76, 77, 88 domestic space, 101–102

Index 289

public space, 102 at Tusculum, 125 Pollio, Asinius, 120 portrait Pollio, Vedius, 123 Divus Iulius, 64 Polybius, 28, 113 honorific, 219 polychrome, 133, 214 Imperial, dissemination of, 192 Polygnotos, 15, 120, 222 panels, 74, 89 Polykleitos, 221, 226 Septimius Severus, 41 Polyphemus. See Galatea; Io Posidippus, epigrams of, 144, 217 Pompeian Styles, Four, 40–45 See also Mau, Praxiteles, 120 August; and specific Styles Prima Porta, Villa of Livia, 27, 155, 157 Pompeii primordia rerum,32 House of Jason (IX.5.18), 200, 202, 203 Priscus, Attius, 20 House of Marcus Lucretius Fronto private display of art. See display, artistic (V.4.a, 11), 82 Propylaia, paintings in, 127 House of Meleager (VI.9.2), 185, 186 Protogenes, 20, 21, 125, 216 House of Obellius Firmus (IX.14.4), 80–81, Ptolemy II, 217 85–86 Ptolemy VI, 110 House of Octavius Quartio (II.2.2), 175, public and private arts, discourse of, 113 176, 177 art works in public buildings, 120, 121–122 House of Sallust (VI.2.4), 87 condemnation of private collections, 118 House of Terentius Neo (VII.2.6), 75, 76 ethical view of, 115, 116–117, 123–124 House of the Colored Capitals Pompey the Great, theatrical complex, 120 (VI.4.31.51), 190 public art display spaces, 119 House of the Cryptoporticus (I.6.2), 78–80, Politics of, 134–135 141, 142, 198 religious significance of Greek art, 114 House of the Dioscuri (VI.9.2, 13), 185 Temple of Concord, 123 House of the Duke d’Aumale (VI.7.15), 188 Pulcher, Appius Claudius, 164 House of the Epigrams (V.1.18), 69, 70, 85 Pyramus, 175, 176 House of the Golden Bracelet (VI.17.42), 91, 156, 157 Quintilian, 25, 193, 222 House of the Great Altar (VI.16.15), 77–78 House of the Labyrinth (VI.11.10), 84, Rawson, Elizabeth, 135 151–152 relief House of the Marine Venus (II.3.3), 157 Ikarios, 63 House of the Orchard (I.9.5), 214, 215 painted, 214 House of the Priest Amandus (I.7.7), 190 plaque, 62, 219 House of the Surgeon (VI.1.10), 90–91 sculpture, 1, 62, 67, 137, 152, 219, 220 House of the Vestals (VI.1.7), 81, 82 remediation House of the Vettii (VI.15.1), 42–43, 44 dual logic of, 149 House with a library (VI.17.41), 168, 172 of the painting of painting, 138, 155 Praedia of Julia Felix (II.4.3), 38, 149–151 Renaissance, 11, 39, 158, 160, 194 Temple of Apollo (VI.7.32), 103, 104, 105 replica, 191, 194, 197 Temple of Isis (VIII.7.28), 185, 188 representation Villa Imperiale, 198, 199, 200 as figure, 153 Villa of the Mysteries, 52–54, 55, 75, 77, as likeness, 153 147, 155 Rizzo, Giulio Emmanuele, 112 porta regia, 166 Roman and Greek cultural identities, 26–28 Portici, 38, 39, 152 Roman art, concept of, 10–11, 24 portico Roman fictive panels, 57, 91 Campanian Villa, 87 Roman painters discussed by Pliny, 20 House of the Great Altar, 78 Rome of Livia, 123 Ara Pacis Augustae, 222 Temple of Apollo, Pompeii, 103 Aula Isiaca, 109, 111

290 Index

Rome (cont.) Seleukos, 229 Circus Maximus, 21 self-reflexivity, 66, 230, 234 Curia Iulia, 121 semiotic, 49 Domus Aurea, 3, 11, 20, 26, 81, 83 Septimius Severus (emperor), 71 Esquiline Hill, 67, 68, 102 Serapio, 73, 80, 164 Forum Iulium, 121 Serapis, 72 Forum of Augustus, 104, 121, 225 Severe Style, 222 House of Augustus, 6, 109 Sicily, 28, 116, 218 House of Livia, 106–109, 148, 183, signa aena, 36, 144 183–187, 190 signatures, 22, 229 House of the Griffins, 161 Sikyon, 122 Palace of Domitian, 1–4 Silen, 68, 149, 208 Portico of Pompey, 101 simulacrum,61 Porticus Metelli, 119, 121 Siren, 207, 208 Porticus Octaviae, 121 Sopolis, 21 Porticus Phillipi, 103 space Pyramid of Cestius, 150 architectural, 3, 4, 134, 151 Regia, 122 pictorial, 42, 45, 54, 140, 148 Saepta Iulia, 121 spolia Temple of Apollo Sosianus, 121 ancient vs. modern meaning, 205 Temple of Concord, 121 at Villa of Farnesina, 223, 224 Temple of Mars Ultor, 121, 224 spolia opima, 104, 224 Temple of the Divine Julius Caesar, 121 spoliation, of artworks, 28, 223 Theater of Pompey, 163, 219 Squire, Michael, 27 Thermae Agrippae, 121 Stabia, 12 Tiber, 205 Stele of Hegeso, 170 Villa della Farnesina, 7, 147 See also Forum Stinson, Philipp, 162 of Augustus; Villa della Farnesina Stoichita, Victor, 55 Rome and Egypt, cultural ties, 110–112 Strabo, 118, 128 Romulus, 101, 102, 104, 224 Studius (Ludius), 20, 25, 130 Roose, Pierre, 56 style artistic, relation to time, 226–227 See also scaenographia. See scene paintings specific Styles scale, 67, 69, 142, 156, 182, 223, 226 substitution, 113, 195, 227, 229, 234 Scaurus, Marcus Aemilius, 95, 96, 97, 122 Suetonius, 96, 97, 122 scene paintings, 159, 160, 163, 164, 166 sumptuary legislation, 123, 130 Schefold, Karl, 112 Syracuse, 28, 113, 114 Scopas, 120 sculptor, 26, 37, 126, 192 tabula picta problem, 145 Second Style tabula/tabella. See panel painting asymmetrical perspective, 161, 162 Tarentum, 28 House of the Labyrinth, 151 teleology, 221, 222, 227 conceit, 81, 141, 222 of art history, 230 frescoes, 106, 152 Temple and Cult Statue of Divus Iulius, 64 at House of the Cryptoporticus, 78 temple inventories, categorical impositions, illusionism, 42, 52, 67, 69, 155 73–74 murals, 98 temporality, plural, 194 at Oplontis, 44 Terence, 165 perspectival immersion, 207 terracotta plaque with portico, 220 transition to Third Style, 69 theater, 163 See also periaktos viewer, relating to, 54 Theocritus, 31, 190 Seeing-as, 153–154 Theon of Alexandria, 31 Seeing-in, 154 Theophilos, 21, 129

Index 291

Theseus, 84, 199, 200 Egyptian motifs at, 214 Thetis, 60, 173, 174, 175 fictive panels of, 205, 206, 207, 208 Third Style, 42, 54, 81, 82, 87, 198 Greek panel paintings, as spolia, 223 Thisbe, 176 imitation and collection, 229 time line drawing, 233 cyclical models, 221, 222 murals of, 205 linear models, 204, 221, 222, 223 political interpretation, murals, 222, 223 teleological model, 204 styles of painting, 208, 209, 210, 211, 213 temporal orientation, 204, 222 sacro-idyllic, 206, 208 Timomachus of Byzantium, 25 Vitruvius, 124, 127, 139, 159, 160, 164, 166 transfer, between media, 233 on private luxury, 125 translation, 30, 31, 32, 33 Void, 146, 147 transparency, 52, 86, 127, 138 transparency and opacity, 5, 7, 92, 138, 143, wall paintings, Roman 157, 173 and Greek panel paintings, 9 Troy, 15, 103, 104, 224 representation of representation in, 1 Tusculum, 125, 129 Second Style of, 41–42, 77 Tyrannicide group, 192 Weber, Karl, 12, 38 Weinberg, Guido Kaschnitz von, 139, 140 Vallois, René, 74, 75 white-ground painting, 208, 209, 210, 227 value of art, 179, 204 Winckelmann, Johann Joachim, 10, 17, 33, 180 Varro, Marcus Terentius, 108, 126–129, 164 Herculaneum panels, approach to, 39–40 Velázquez, Diego, 56, 234 Letter on the Herculaneum Discoveries,11 Venus. See Aphrodite See also History of the Art of Antiquity Venuti, Ridolfino, 38 Wittgenstein, Ludwig, 153 See also seeing-as Vergil, 29–30, 31 See also Aeneid (Vergil) Wollheim, Richard, 154 See also seeing-as; Vergina, 80 seeing-in Verres, Gaius, 116, 119, 122, 218, 223 Wood, Christopher S., 194 Vespasian, 20 Wyler, Stephanie, 207 Vesuvius, eruption of, 1, 11, 13, 42 Villa della Farnesina Zanker, Paul, 101, 124 anachronism of, 205 Zeus, 61, 182, 206, 209 decorative schemes, 206, 207 Zeuxis, 37, 193, 216