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.

    114/664
    one on the coins of Epidamnus). Four other cows by Myron, Propert. ii, 31, 7. 3. On the Ladas, Anthol. Pal. T. ii. p. 640. Plan. n. 63, 54. On two brazen figures at Naples as imitations (?), Schorn's Kunstblatt 1826. N. 45. Comp. M. Borb. v, 54. The discobolus a distortum et elaboratum signum, Quintil. ii, 13. Lucian minutely describes a copy, Philops. 18. TOf iTTiKeKviporct x,»r»r6 ax^ficcr^s dtpicricd;, ccTriffTQctftyAiiov ei; rijv OiaMCPoQO!', ij^ifcot opihoi^ovTct mg^, eomoroi ^vi/uuetarryitjof^tva f^sni t'^j (ioK^g. Besides on the act of throwing, Ovid M. x, 177. Ibis 587. Stat. Theb. vi, 680. comp. Welcker ad Philostr. p. 352. Imitations in statues: M. Capitol, iii, 69; M. Fran§. i, 20. Bouill. ii, 18 (in the Vatican from Hadrian's Villa) ; Piranesi Stat. 6. Guattani M. I. 1784. Febr. p. ix. (in the Villa Massimi); [now in the palace Massimi alle Colonne, by far the finest copy, and one of the first statues in the world]; Specimens pi. 29 (in the Brit. Museum) ; and in gems: M. PioClement. i. t. agg. A. n. 6. D. A. K. tf. 32. Comp. Franc. CanceUieri del Discobolo scoperto nella Villa Palombara R. 1806. Welcker's Zeitschr. i. s. 267. Amalthea iii. s. 243, [Meyer in the Propyl, ii, 1. S. 35. Wagner in the Kunstbl. 1830. No. 54. The figure is imitated not merely in the Philostratic picture, but also in a relief with game-contests represented by children M. du Louvre, pi. 187. n. 455. To the well known repetitions of the statue may be added one at Turin, besides which Millin Voy. au Piemont mentions one at Naples, and one in the Vatican. Beschr. Roms. ii, 2. S. 242. n. 10.] 4. Plin. ibid. Cic. Verr. iv, 3, 5. Strab. xiv, 637 b. 5. On the workmanship of the hair see PUn. and comp. the observa- tion by the edit, of Winckehn. vi. s. 113. on two copies of the discobolus. Myron also made goblets and the like (Martial vi, 92. viii, 51) as did likewise PolycHtus, and Lycius the son of Myron (AvKiov^yiil). [ 123. The elForts of Callimaclius and Demetrius appear to have been deviations from the prevailing spirit and taste. An industry never satisfied with itself distinguished the works of Callimachus, but also spoiled them, and procured for him the appellation of Catatexitechnus, because his skill was frittered 2 away in the minute finish of insignificant details. On the other hand Demetrius the Athenian was the first who, in por- traits of individuals, especially elderly people, aimed at a fidelity which faithfully rendered even the accidental—what is not essential to the representation of the character, and 3 at the same time not beautiful—The spirit of Polyclitus in particular seems to have lived on among the artists Avho dis- tinguished themselves near the end (as Naucydes) and after the end of the Peloponnesian war (as Daedalus), even although they were not scholars of Polyclitus. Brass-casting still con- tinued to prevail; the artists were chiefly occupied with gym- nastic figures, statues of athletes and honorary statues. 1. On CalUmachus, see SilUg C. A. p. 127, and VSlkel's Nachlass s. 121. On >cccr^rr,^Jrsx>^o;. comp. also ibid. s. 102. The frequent use of the