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.

    112/664
    ing to Strabo vlii. p. 372. Toreuticen sic erudisse, ut Phidias aperuisse (judicatur) Plin. xxxiv, 19, 2, [He previously says of Phidias, primusque artem toreuticen aperuisse atque demonstrasse merito judicatur, in both passages evidently referring to their brazen statues, in the same way as to- reutice is in another passage, xxxv, 36,8, contradistinguished from paint- ing, as plastice in the strict sense, or as the plastic art, sculpture generally. Schneider in his dictionary remarks that Pliny means sculpture in bronze; but this expression indeed has been exposed to strange interpretations, arbitrary and accidental inaccuracies of all sorts], (on the other hand ac- cording to Quintil. Phidias in ebore longe citra semulum). Oomp. for general information the criticisms in Cic. Brut. 18. QuintiL xii, 10. Schorn, Studien, s. 282, Meyer, Geschichte i. s. 69. 3. Diadumenum fecit molliter puerum (a similar statue from Villa Farnese, Winckelm. W. vi. tf. 2. Gerard, Ant. Bildw. 69).—Doryphorum viriUter puerum [counterparts with reference to Prodicus, see Welcker Kl. Schr. ii. S. 482]—destrigentem se (d'Tro^vofiiuoy) et nudum talo in- cessentem (i. e. 'Tirotyx.^a.rioe.aTViu dvovrequi^ovToi, see Jacobs ad Philostr. p. 435), duosque pueros item nudos talis ludentes (sttrTgaeyaA/^ovT*?). Plin. ibid. Sillig C. A. p. 364 sqq. 4. As to the Canon, Plin. ibid. (Doryphorum, quern et canona artifices vocant), Cic. Brut. 86. Orat. 2. Quintil. v, 12. Lucian de Salt. 75. Hirt, Abh. der Berl. Acad. 1814. Hist. CI. s. 19. [Thiersch Ep. S. 357 rejects the emendation quem et for et quem, comp. Creuzer zur Archaol. i. S. 38.] As a writing only in Galen tts^i t&iu xmSi' ' lTrTrox.^a,rnv x.ctl Hkmt. iv, 3. T. V. p. 449, Kiihn, and elsewhere. Quadrata {rir^ayuva) Polycl. signa esse tradit Varro et psene ad unum exemplum, Plin. This subject treated more minutely §. 332. [cf. §. 130, 2.] 1 121. It accords very well with this character of Polyclitus that he conquered Phidias, Ctesilaus, Phradmon and Cydon 2 with his amazon in a contest of artists at Ephesus._ The amazon of Phidias leaning on a lance has been recognised in the one in the Vatican preparing to leap, and the wounded amazon of Ctesilaus in a Capitoline statue. Accordingly we must conceive that of Polyclitus to be the highest point at- tained in the representation of those blooming and powerfully 3 developed female forms. Polyclitus as well as Ctesilaus was also already distinguished in portrait statues ; the former sculptured Artemon Periphoretus, the latter Pericles Olympius. 2. On the Amazon of the Vatican (Raccolta 109. Piranesi Stat. 37. M. Franc iii,14. Bouill. ii, 10 ; there is one equally fine in the Capitol, nu- merous other copies of the same original), the writer de Myrma Amazone, in Commentat. Soc. Gott. rec. vii. p. 59. D. A. K. Tf. 31. Comp. Gerhard, Bullet d Inst. 1830. p. 30. 273. Beschr. Roms. i. §. 94, Hirt, Gesch, der Kunst s 177. [The Akad. Mus. at Bonn 1841. S. 63 ff.] On the wounded Amazon (in the Capitol, M. Cap. iii. t. 46; in the Louvre n. 281 Bouill ii 11 in the Vatican Gerh. Beschr. Roms. S. 95). See the ed. Winckelm.'iv.s. 356. vi,s. 103. Meyer Gesch. s. 81. Anm. 78 On a fine but mutilated statue of the same kind, only in a somewhat hard style, iu the castle at WorUtz, Hirt, ibid. s. 160. A torso in the Royal cabinet