Ancient art and its remains, or, A manual of the archaeology of art / By C.O. Müller.

  • Karl Otfried Müller
Date:
1852
Catalogue details

Licence: Public Domain Mark

Credit: Ancient art and its remains, or, A manual of the archaeology of art / By C.O. Müller. Source: Wellcome Collection.

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    81 1. On the designs of Hippodamus, comp. Aristot. Pol. ii, 5, with Schneider, vii, 10. Photius and Hesych. s. v. ' I'Trvohx/aov ue/xmi's with Diod. xii, 10. Schol. Aristoph. Equ. 327 (comp. Meier on the Scholia, p. 457. Dindorf). On Rhodes, Strab. xiv, 664. Aristeidcs Rhodiacus! Meurs. Rhodus i, 10. Perhaps the plan of the beautiful city Cos (103, 3) was similar, as well as that of the new Halicarnassus (by Mausolus; the plan^ in Cuper, Apoth. Homeri p. 241 is not altogether correct)! [Vitruv. i. 7. De electione locorum ad usum oommunem civitatis.] 2. On the plans of Meton (the astronomer and hydrauhst) for the building of a city, Aristoph. Birds, 995 and Schoha. On the old-Greek and Ionic mode of laying out towns, comp. Dorians, vol. ii. p. 272 sq. The cities of the Peloponnesus which grew up after the fall of Sparta were also certainly more regular, as new Mantinea (01. 102, 2. See Gell, Stadte- mauern Tf. 35), MegalopoUs (102, 2) and Messene (01.102, 4) with massive walls of square blocks and beautiful fortified gates; the Doric architec- ture of the portico, around the stadium, however, already declines into the puny. Leake, Morea T. i. p. 372, pi. 3. Gell, Stadtemauern Tf. 36. Donaldson, Antiq. of Athens. Suppl. p. 19. pi. 1, 2. Exped. Scient. de la Moree, pi. 24 sqq. 3. THE PLASTIC ART. A. THE AGE OF PHIDIAS AND POLYCLITITS. 112. The highest bloom of art, which was at this period l zealously cultivated throughout Greece, but principally at Athens and Argos, was ushered in by Calamis and Pythagoras, 2 two excellent artists; the former indeed was not entirely free from the hardness of the old style, but nevertheless he exe- cuted admirable works of the most various kinds, sublime statues of gods, delicate and graceful women, and spirited chargers; the latter excelled in lifelike representation of the 3 muscles and veins, in exact knowledge of proportion, but at the same time also (what was more rare at this period) in profound expression. 1. Calamis (of Athens?), toreutes [§. 85. R. 2], brass-caster, and sculp- tor, 01. 78—87. Pythaooras of Rhegiom, brass-caster, pupil of Clearchus, 01. 75—87. Pans, vi, 6. vi, 13. comp. Corsini, Dissert, agon. p. 124. 130. Phn. xxxiv, 8, 19. Eucadmus of Athens, sculptor, 80. Telephanes, the Phocajan, brass-caster (worked for the Aleuadte and Persian kings) about 80. Polygnotus, painter and sculptor, about 80. Ptolichus of Corcyra, scholar of Critias, brass-caster, 83. Scymnus and Dionysodorus, brass- casters and toreutse, scholars of Critias, 83. Acestor of Cnossus, brass- caster, 83. [ONATAsof^gina,01. 78—83, andhisscholars, §. 82.] Phi- dias, son of Charmides, of Athens, scholar of Ageladas, painter, brass- caster, toreutes, and sculptor, 01. 80—87, 1. Praxias of Athens, scholar of Calamis, sculptor, 83. Androsthenes of Athens, scholar of Eucadmus. sculptor, 83. Ncsiotes, fellow-labourer of Critias, Ross in the Kunstbl! 1836. N. 16. [R, Rochette, Suppl6m. au Catal. dos Artistes, p. 368 1 Polx- F