POLYGNOTUS  , See also:

• GREEK
• GREEK, ETRUSCAN AND

Greek painter in the See also:

• MIDDLE

middle of the 5th See also:

• CENTURY (from Lat. centuria, a division of a hundred men)

century B.C., son of Aglaophon, was a native of See also:

• THASOS

Thasos, but was adopted by the Athenians, and admitted to their citizenship . He painted for them in the See also:

• TIME (0. Eng. Lima, cf. Icel. timi, Swed. timme, hour, Dan. time; from the root also seen in " tide," properly the time of between the flow and ebb of the sea, cf. O. Eng. getidan, to happen, " even-tide," &c.; it is not directly related to Lat. tempus)
• TIME, MEASUREMENT OF
• TIME, STANDARD

time of See also:

• CIMON [Kiµwp] (c. 507-449)

Cimon a picture of the taking of Ilium on the walls of the See also:

• STOA

Stoa Poecile, and another of the See also:

• MARRIAGE

marriage of the daughters of Leucippus in the Anaceum . In the See also:

• HALL
• HALL (generally known as SCHWABISCH-HALL, tc distinguish it from the small town of Hall in Tirol and Bad-Hall, a health resort in Upper Austria)
• HALL (O.E. heall, a common Teutonic word, cf. Ger. Halle)
• HALL, BASIL (1788-1844)
• HALL, CARL CHRISTIAN (1812–1888)
• HALL, CHARLES FRANCIS (1821-1871)
• HALL, CHRISTOPHER NEWMAN (1816—19oz)
• HALL, EDWARD (c. 1498-1547)
• HALL, FITZEDWARD (1825-1901)
• HALL, ISAAC HOLLISTER (1837-1896)
• HALL, JAMES (1793–1868)
• HALL, JAMES (1811–1898)
• HALL, JOSEPH (1574-1656)
• HALL, MARSHALL (1790-1857)
• HALL, ROBERT (1764-1831)
• HALL, SAMUEL CARTER (5800-5889)
• HALL, SIR JAMES (1761-1832)
• HALL, WILLIAM EDWARD (1835-1894)

hall at the entrance to the See also:

• ACROPOLIS (Gr. aKpos, top, a6)Xts, city)

Acropolis other See also:

• WORKS

works of his were preserved . The most important, however, of his paintings were his frescoes in a See also:

• BUILDING

building erected at See also:

• DELPHI (the Pytho of Homer and Herodotus; in Boeotian inscriptions BeA4oi, on coins Aa)tg5oi)

Delphi by the See also:

• PEOPLE

people of See also:

• CNIDUS (mod. Tekir)

Cnidus .. The subjects of these were the visit to Hades by See also:

• ODYSSEUS (in Latin Ulixes, incorrectly written Ulysses)

Odysseus, and the taking of Ilium . Fortunately the traveller See also:

• PAUSANIAS

Pausanias has See also:

• LEFT

left us a careful description of these paintings, figure by figure (Pans. x . 25-31) . The See also:

• FOUNDATIONS

foundations of the building have been recovered in the course of the See also:

• FRENCH
• FRENCH, DANIEL CHESTER (1850– )
• FRENCH, NICHOLAS (1604-1678)

French excavations at Delphi . From this See also:

• EVIDENCE (Lat. evidentia, evideri, to appear clearly)

evidence, some See also:

• MODERN

modern archaeologists have tried to reconstruct the paintings, excepting of course the See also:

• COLOURS, MILITARY

colours of them . The best of these reconstructions is by Carl See also:

• ROBERT
• ROBERT (1275—1343)
• ROBERT, HUBERT (1753-1808)
• ROBERT, LOUIS LEOPOLD (1794-1835)

Robert, who by the help of See also:

• VASE
• VASE (through Fr. from Lat. vas, a vessel, pl. vasa, of which the singular vasum is rarely found; the ultimate root is probably was-, to cover, seen in Lat: vestis, clothing, Eng. " vest," Gr. to-th c, and also in " wear," of garments)

vase-paintings of the middle of the fifth century has succeeded in recovering both the See also:

• PERSPECTIVE (Lat. peespicere, to see through)

perspective of Polygnotus and the See also:

• CHARACTER (Gr. xapareri7p, from xap&crew, to scratch)

character of his figures (see GREEK See also:

• ART

ART, fig . 29) . The figures were detached and seldom overlapping, ranged in two or three rows one above another; and the farther were not smaller nor dimmer than the nearer .

The designs are repeated in Frazer's Pausanias, v . 36o and 372 . It will hence appear that paintings at this time were executed on almost precisely the same See also:

• PLAN
• PLAN (from Lat. planes, flat)

plan as contemporary sculptural reliefs . We learn also that Polygnotus employed but few colours, and those See also:

• SIMPLE

simple . Technically his art was See also:

• PRIMITIVE

primitive . His excellence See also:

• LAY

lay in the beauty of his See also:

• DRAWING

drawing of individual figures; but especially in the "ethical" and ideal character of his art . The contemporary, and perhaps the teacher, of See also:

• PHEIDIAS

Pheidias, he had the same See also:

• GRAND

grand manner . Simplicity, which was almost childlike, sentiment at once See also:

• NOBLE, SIR ANDREW (1832- )

noble and See also:

• GENTLE (through the Fr. gentil, from Lat. gentilis, belonging to the same gens, or family)

gentle, extreme See also:

• GRACE (Fr. grace, Lat. gratia, from grates, beloved, pleasing; formed from the root cra-, Gr. xav-, cf. xaipw, x6p,ua, Xapts)
• GRACE, WILLIAM GILBERT (1848– )

grace and See also:

• CHARM (through the Fr. from the Lat. carmen, a song)

charm of See also:

• EXECUTION (from Lat. ex-sequor, exsecutus, follow or carry out)

execution, marked his works, in contrast to the more animated, complicated and technically See also:

• SUPERIOR

suPerior paintings of a later See also:

• AGE (Fr. age, through late Lat. aetaticum, from aetas)

age . (P .