The evening telegraph. [volume] (Philadelphia [Pa.]) 1864-1918, 1867-09-02

/ been interpreted by M. Champollion fis to be
an invocation of Osiris or Isis. 10 isy how
ever denounced by Overlook as sham. In
a niche on the court wall fronting the temple
stood a painted figure of Sigaleon or Harpo-
crates, otherwise called Orus, the son of Osiris.
Beneath this was shelf, intended perhaps to
receive offerings, and under it board, sup
posed TO be for the knees of the worshippers,
In another part of the court was found beau
tiful statue of Isis, with the sistram and the
key Of the Nile sluices, her drapery painted
purple, and in part gilt. From several of
the pictures and bas-reliefs we obtain inter
esting evidence of the influence exercised
by classic symbolism upon Christian art. An
instance of this occurs in the ugly conven-
tional glory with which the heads of sacred
personages are commonly enoircled This
usage was borrowed by the Italian painters
from the Greek artists of the lower Empire, in
whose paintings it generally assumes the ap-
pearance of solid plate of gold. In small
house at Pompeii, decorated with subjects
from the Odyssey painting of Ulysses and
Crce was copied by Mazois in 1872, which is
remarkable as exhibiting the head of CirCe
crowned with halo of aureole Of this precise
kind. The outer limb or circumference is
solidly and sharply defined, not shaded off
and divided into rays, as we usually see 1T IN
works of the Italian school. This painting
has since perished. A similar aureole sur
rounds the grand figure of Jupiter ia the house
of Zephyrus and Flora. The god is here sit
ting in a contemplative attitude, the eagle at
his feet, and his golden sceptre in his hand.
His mantle is Of violet color, and lined with
azure, the throne and footstool are golden, Or
namented with picturesque stones, a green
drapery covering the back of the throne.
These pictures, like most of those discovered
at POmpeii, were executed on the plaster of
the wall. 1t appears, however, that movable
pictures were not unknown. In the
handsome house in the street of
Stabia, eXcavated in lS47, and as
signed on the evidence of an inscription to
M. Lucretius, Flamen of Mars and Decurio
of Pompeii, the walls of the td6ttnUm are
painted with architectural subjects. Among
these are spaces for two large paintings, which
have been either carried away, or had not yet
been fixed in their places when Pompeii was
overwhelmed. A full account of the principal
paintings and sculptures, together with
critical discussion of the methods and mate
rails in use among the artists of the age, is
given by DR.. Dyer. OF these, the noblest
mosaic is beyond comparison that discovered
in the house of the Faun, not less than Is feet
long by broad, supposed to represent one of
the battles of Alexander and Darius, probably
that at the Issus. Few paintings of any age
can excel in fire and animation the celebrated
head of Achilles giving up Briseis, in the
house of the tragic poet. And statuettes like
those of the dancing Faun, the Silenus, and
those of sundry animal figures, are not sur
passed by the finest remains of classic art.
We lay down DR.. Dyer's work with regret at
not being able to afford space for more COM
plete epitOme of its multifarious points of
interest. Saturday Reuie,o.