The Gentle Art of Faking: A history of the methods of producing imitations & spurious works of art from the earliest times up to the present day — John Shaqi
The Gentle Art of Faking: A history of the methods of producing imitations & spurious works of art from the earliest times up to the present dayNobili, Riccardo
History
The Gentle Art of Faking: A history of the methods of producing imitations & spurious works of art from the earliest times up to the present day
Nobili, Riccardo
Art -- Forgeries; Collectors and collecting; Forgery of antiquities
But the artistic glories of this theatre were perhaps even surpassed
by the interminable portico Pompey constructed and adorned for the
benefit of the public. This spot, which was called the Promenade of
Pompeius, became one of the fashionable walks of Rome.
“You disdain,” asks Propertius of his lady love, “the shady colonnades
of Pompey’s portico, its magnificent tapestries and the fine avenue of
leafy plane-trees?” (IV, 8). And in another place Cynthia forbids her
paramour this promenade with the words: “I prohibit you ever to strut
in your best fineries in that promenade.”
Pliny (XXXV, 9), says that Pompey had some famous paintings in his
galleries and seems to have been more especially struck by a work
by Polygnotus, representing “a man on a ladder,” and a landscape
by Pausias. Curiously enough the characteristics that seem to have
attracted Pliny in the two works do not point to the noted writer as
a great art critic. He says that the remarkable side of Polygnotus’
painting was that the beholder could not tell whether the man on the
ladder was ascending or descending, and that the main characteristic of
Pausias’ work consisted in two black oxen outlined on a dark landscape.
Cæsar, who showed himself to be a better connoisseur than his rival
Pompey, and who, being of a more refined nature, would not, as did
Pompey, have indulged in the gratification of parading the chlamys of
Alexander the Great in a triumphal car drawn by four elephants, spent
considerable sums on the embellishment of Rome with art. He also, like
many collectors of art, had his hobbies, carrying with him through his
various campaigns an endless number of precious mosaic tables, and
always keeping in his tent a fine work of a Greek artist, a statue of
Venus, with whom he claimed relationship. Though he showed eclectic
taste in his gifts to the town and temples, he was in private, like a
true connoisseur and refined lover of art, somewhat of a specialist,
being extremely fond of cameos and cut stones. Of these he had six
distinct collections that held the admiration of all the connoisseurs
of the city.
Public-domain text, read in full here on John Shaqi.
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