Fig. 3. Painting in the "House of Livia" on the Palatine Hill in Rome.

Orpheus made into David.

Orpheus made into David.Returning now to the above mentioned Psalter of the Vatican, the scribe, probably a Greek monk, who in the twelfth century painted this miniature[[26]], converted it into quite a different subject, that of David playing on the harp, by the simple device of ticketing each figure with a newly devised name. Orpheus is called "David," one of the Nymphs who sits affectionately close to Orpheus, probably meant for his wife Eurydice, is labelled "Sophia", "wisdom"; while the other two figures are converted into local personifications to indicate the locality of the scene.

It is not often that a mediaeval copyist has thus preserved unaltered the composition of a whole subject of classical and pre-Christian date, but it is not uncommon to find single figures or parts of pictorial designs of equally early date among the illuminations of the ninth to the twelfth centuries.

Graeco-Roman personifications.

Graeco-Roman personifications.As an example of this we may mention one painting in a Greek Psalter of the tenth century in the Paris library (Bibl. Nat. No. 139). This represents the Prophet Isaiah standing, gazing up to heaven, in a very beautiful landscape with trees growing from a richly flower-spangled sward. The somewhat stiff figure of the Prophet is Byzantine[[27]] rather than Classical in style, but the other two figures which are introduced are purely Graeco-Roman in design. On one side is a personification of Night (ΝΥΞ), a very graceful standing female figure with part of her drapery floating in the wind, forming a sort of curved canopy over her head, such as is so often represented above the heads of goddesses or nymphs on the reliefs of fine Graeco-Roman sarcophagi.

On the other side of the Prophet is a winged boy, like a youthful Eros, bearing a torch to symbolize the dawn.

Fig. 4. A Pompeian painting of Hellenic style, as an example of Greek drawing and composition.

Classical style.