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.

    113/664
    of antiquities at Vienna, under the natural size, is very remarkable from this, that, in the sharp features of the countenance with the head inclin- ing to the left, in the hair disposed in a wiry manner around the fore- head, in the stiffly folded upper and under drapery (the latter covers also the right breast), the Amazonian ideal is preserved as it had been already developed by the generation of artists before Phidias and Ctesilaus. 3. Artemon Periphoretus was constructor of machines for Pericles in the war against Samos (01. 84, 4) ; the pretended Anacreontic poem (Mehlhorn, Anacr. p. 224) on him was doubtless of later origin. [The poem is certainly genuine, and Artemon 'n-i^tfpoQ^nro;, an elFeminate con- temporary of Anacreon, who must be distinguished from Artemon the constructor of machines; the A. Periphoretus of Polyclete was a com- panion to the Hercules Ageter, as is shown in the Rhein. Mus. iii, 1. S. 155 ff., to which the author himself has referred in the margin.] Pliny mentions the statues of Artemon and Pericles. On Sosandra §. 112. Colotes, a pupil of Phidias, sculptured philosophi according to a striking statement in Pliny. Stypax fashioned (in sport) a slave of Pericles as (j'7:'hot,yy,<j67Cfi\i, whom Pliny seems to have confounded with the workman of Mnesicles (Plut. Pericl. 13). 122. Art expressed itself still more corporeally in Myron 1 the Eleutherean (half a Boeotian) who was in an especial man- ner led by his individuality to conceive powerful natural life in the most extended variety of appearances with the greatest truth and naivete (primus hie multiplicasse veritatem videtur). His cow, his dog, his sea-monsters were highly 2 vivid representations from the animal kingdom; from the 3 same tendency sprang his dolichodromus Ladas, who was re- presented in the highest and most intense exertion, his dis- cobolus conceived in the act of throwing, and the numerous imitations of which testify to its fame, his pentathli and pan- cratiastw. With regard to mythic forms, Hercules was parti- 4 cularly suited to him, and he sculptured him together with Athena and Zeus, in a colossal group for Samos. He remained, 5 however, in the indifferent, motionless cast of countenance, and the stiff workmanship of the hair on the same stage with the earlier brass-casters (especially those of ^gina), from whom, generally speaking, he differed less than Polyclitus and Phidias. 1. On Myron, Bottiger, Andeut. s. 144. Sillig C. A. p. 281. Myron qui paene hominum animas ferarumque ?eve expresserat, Petron. 88, is not in contradiction with:—corporum tenus curiosus, animi sensus non expressisse videtur, Plin. xxxiv, 19, 3. [Statins Silv. iv, 6, 25, qujB docto multum vigilata Myroni Aera, overlooked by Sillig, coinciding with Ovid's operosus.] 2. On the cow rendered famous by epigrams (Anthol. Auson.), with distended udders according to Tzctz. Ohil. viii, 194, see Gothe, Kunst und Alterthum ii. p. 1. (It cannot however for various reasons be the