Face To Face

For cxampl C, PI i ny l he I I it : l'.i . J4- 79 i ■. i-. I - levcited ncartv an cutiré volume ut his Natural Histor) to the painting of portraits. Here he lamenls the lack oí taslc motivated b) L'Il' scramblr Inr status syinbois amuTij; ih+- upwardly 11 t ■ -■t i ^ t.- midjic i i-i^l"- ai his time. In im* viewH a portrait's itiost important futiction ■a.l^ Lm foster memory and respect for family and i r.iilil->i. Huwcver, Pliny cumplAin^ Che dcfirtingcharac-teristk oí a portrait ííts physital likeness to i t ^ model) was less valued ihan lh<- cnsllintss oí the objeí i, the quantity M ilems lm .] oollection deemed more Important theií quaiityn and the quaüty rated on llu' pretentiousness of the workmanship, Sounding ver y much lija1 an old-

■ .1 I ■ i; >nc¡ I m l' nibcr ul 11 .i-111 der generation lanicflti ilg l he < rass valúes o( ihe ynunger. hr eircricü the deleriuriticjo of traditkm and slyle,, the loss

■ 11 résped for time-honored customs, and the deplorable habit oí pop-fiiiiL: .i ncw portrjii head upon anolder lorso just tosave money t>r time. Final]y, ht: cnntendji thath (iint-t: [be LndividiiaL's rniinl canm>l bé viíuaily portrapednat leaat a detent likeness should bcsoughl:

Tfn- paiming ot pnrtralts, used íransmLt rhrmjfth íhf ajjes l-sircmely üor-reU LL1«ecss of pírwns, has cnlirfly rutic uuL Biurtu stliflds are nt"* MAup

■i-. monumcnls wi th a dc^ign ¡ti -ibrr, w¡(|- unlya faini betwrcn IHe iigurts; híidi of itaru« Jít ffKíhaneíd toi others, about -.-. I ■ ¡l. I ■ befow nt>w actLLaJI^ lm a cp have been curicnt; so univcisaUy is a display of matinal prcfcrrcd ta ¿ rtca^nLiiblc ]iken«¿ oí otitis - ■■■-- n sdf. And Ln (he midíl of jill thii. píopleTspe¿tr> thewalliof theií piílure galkries with o]d puilui», and ihry piize lLkt:nru«i ■■! - I: ■ ■ 11 :■■. ivhilt: ai í[»r llii/nv-i h thcy iíiia^ijie ihat thí liotioi onlv totiíisis in the imk- .. Consequenily, i»bftdyrs llkcnctn r-L^. and thcy If-avt behind thcm porlrjits nprescnt ■■ > :iltheir money nr>t (hfrnsflv«-. . . . That is fiactly henv (hcy are; indulrncc has dis( wyed ihe arli, and sime <»¡\ -»inds VUrtnvl bí |■:ri.I>í(.1. imr b&dilj-1ti luí» are aJso níplccted. In Üie haJIs oí ■ <u r ancísluri il was othcnvist¡ por-Iraili were ihv ibjecth ayed luhrlookrd at .. wu modcls wcik m'I uut, rtchons v.mi iií sidí bosrd, to i -.i; liJaínessesin in i

^la funíTsl "Fi ihe .ilwjíys when mmf mírntrn vf r |-■" -.-.■.I aw?j ihe cniirf fympany uf ^M^ lmuse chaL iiad evíi r\\-h\\ «ns presítit

Howtíver, the question of what coiiítitJted a [ilk1 likeness, l-^-cii a physital likencis, was debítablt:. Despiie PJLny'i aserción that "iniiills" could :ml portrayedn Ik- also i ct^LM i i that the elements that madí an externa] portrait true or false were deeper than mere outward sppearance. The íJípressiñn of ütirtií element of the soulh ar at leait i J ■ ■_■ charactert oí'ijil- model necesaarv, Pliny crlticized the cn&tom of p l^i l." i i portrait busts of great poets .nith-:>:s in librarles where iln'ir ■.wuk'n -LM.-fc kept, lIikI he commented that many of these images ^^■^L■|■L■ who]ly invented, sincc na ¿>nc knev.1 what ccrtain individuáis looked Hk-c as Home t ot Sócrates). Foi Pliny, the creators of true portraits wereactually thebiographers who recounted the qualities oí an individ-

I MACÉ AMC1 PO UTK AIT IN ROMAN tVLTVKE ANO HE LICION

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