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.

    105/664
    a border on the front side. The barriers were painted by Panaenus (near the oack doors they were coloured blue), and probably also the flowers on the gold-drapery. The figure placed under a portion of the roof, was colossal even for the temple (§. 109, 9). About 40 feet high on a pedestal of 12. It appeared still larger than it was. Pans, v, 12, 4. Tes-- timonies as to the knowledge of perspective: Story of the countenance, Lucian, Pro Imag. 14. The Contest with Alcamenes, Tzetz. Chil. viii, 193, and the general evidences, §. 324. 2. Zeus held in his right hand a Nike (who probably issued from him, as in the case of the Olympian Zeus at Antiocb, §. 160), in his left the sceptre with the eagle (comp. The Elean Coins, Stanhope, Olympia 10). Phidias adduces the description of Zeus Kotravivuv (II. i, 529), as his model. E/gni//xoV »«i Tva.vrctyflv -Trqciog, Dio Chrysost. xii. (Olympicos) p. 215. More general expressions of admiration, Livy xxxv, 28. Quintil. xii, 10. Dio Chrysost. Or. xii. p. 209 sqq. A. Among the works which have been preserved, those which bear the greatest affinity are the Ve- rospi Jupiter and the Medicean and Vatican busts, §. 349. Elean coins of the Caesars with the Olympian Zeus in De Quincy, pi. 17. p. 312, and M. Fontana 6, 1. Volkel liber den grossen Tempel und die Statue des Jupiter zu Olym- pia. Lpz. 1794. Archseol. Nachlass 1831, p. 1. Siebenkees iiber den Tem- pel. u. die Bildsaule des Jupiter zu Olympia. Numb. 1795. Bottiger, Andeut. p. 93. (Marchese Haus) Saggio sul tempio e la statua di Giove in Olimpia. Palermo, 1814. Q. de Quincy, Jup. Olympien, p. 384. The author's Comm. de Phidia ii, 11. Rathgeber, Encyclop. Ill, iii. p. 286. 116. Besides these and other works in the toreutic art, 1 Phidias executed numerous statues of gods and heroes in brass and marble as religious images or consecrated gifts. But he 2 unfolded in particular the idea of Athena with great ingenu- ity, in different modifications, inasmuch as he represented her for Platsea in an acrolith (§. 84) as warlike (Areia), and for the Athenians in Lemnos, on the other hand, peculiarly graceful and in a mild character {KaXXi,aog(pog). The most co- 3 lossal statue, the brazen Promachus, which, standing between the Parthenon and the Propyltea, and towering over both, was seen by mariners at a great distance, was not yet finished when Phidias died; almost a century later Mys executed after the designs of Parrhasius the battle of the centaurs on the shield, as well as the other works of the toreutic class with which the casting was ornamented. 1. Petersen, Observ. ad Plin. xxxiv, 19, 1. Ein Programm, Havniae, 1824. Sillig, C. A. p. 344. comp. p. 288. Comm. de Phidia i, 9. 2. The temple of Athena Areia was, according to the circumstantial account of Plutarch, built from the spoils of Platsea (Aristid. 20); but the age of the work is not quite determined by this. On the KalUmorphos, Paus, i, 28, 2. Lucian. Imag. 6. Plin. xxxiv, 19, 1. Himerius, Or. sxi, 4. [cf. Preller in Gerhard's Archiiol. Zeit. 1846. S. 264]. 3. The site of the Promachus is determined by Paus. i, 28, 2. comp.