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POLYGNOTUS , See also:Greek painter in the See also:middle of the 5th See also:century B.C., son of Aglaophon, was a native of See also: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 a picture of the taking of Ilium on the walls of the See also:Stoa Poecile, and another of the See also: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 other See also:works of his were preserved. The most important, however, of his paintings were his frescoes in a See also:building erected at See also:Delphi by the See also:people of See also:Cnidus.. The subjects of these were the visit to Hades by See also:Odysseus, and the taking of Ilium. Fortunately the traveller See also:Pausanias has See also:left us a careful description of these paintings, figure by figure (Pans. x. 25-31). The See also:foundations of the building have been recovered in the course of the See also:French excavations at Delphi. From this See also:evidence, some See also:modern archaeologists have tried to reconstruct the paintings, excepting of course the See also:colours of them. The best of these reconstructions is by Carl See also: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 of Polygnotus and the See also:character of his figures (see GREEK See also: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 as contemporary sculptural reliefs. We learn also that Polygnotus employed but few colours, and those See also:simple. Technically his art was See also:primitive. His excellence See also:lay in the beauty of his See also: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, he had the same See also:grand manner. Simplicity, which was almost childlike, sentiment at once See also:noble and See also: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 of See also:execution, marked his works, in contrast to the more animated, complicated and technically See also:suPerior paintings of a later See also:age. (P.
End of Article: POLYGNOTUS
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