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.

    115/664
    autrer, the first application of which to marble is ascribed to him (comp. §. 56. Rem. 2), the Corinthian capital (§. 108), the elegant lychnos of Pallas Polias (executed perhaps after the 92d 01.), the saltantes Lacaenae, emendatum opus, sed in quo gratiam omnem diligentia abstulerit, agree very well with this soubriqiiei. 2. Dem. nimius in veritate, Quintil. xii, 10. His Pelichus of Corinth (comp. Thuc. i, 28) was ■Tr^oyxara^, (potKotvriocg, {i^ulyv/xvog t>)i/ dtmci^oT^'^v, ilvBfiUfiivo; roi) Truyavog roig rqlxo'^i svtccg, S7ri'a-/]f^og rag Cp'hi/ia.g, cturoxu^^aTra of^oto;, according to Lucian Philops. 18, where Dem. is called ds/SiqaTroTroios. A Signum Corinthium of precisely the same style of art is described by Pliny, Epist. iii, 6. 3. See especially the accounts of the sacred gifts presented by the LacedEemonians of ^gospotami (the sea-blue nauarchi) Pans, x, 9, 4, Plut. Lysander 18, de Pyth. orac. 2. Comp. Pans, vi, 2, 4. An iconic statue of Lysander in marble at Delphi. Plut. Lys. 1. B. THE AQE OP PRAXITELES AND LTSIPPUS. 124. After the Peloponnesian war a new school of art 1 arose at Athens and in the surrounding district,—not con- nected with the previous one by any discoverable succession, —whose style in like measure corresponded to the spirit of the new, as that of Phidias did to the character of earlier Attic life (§. 103). It was chiefly through Scopas who was born 2 at Paros, an island related by race to Athens and then subject to it, and Praxiteles, a native of Athens itself, that art first received the tendency to more excitable and tender feelings, which corresponded to the frame of men's minds at that time. It was combined however in these masters in the most beau- tiful manner with a noble and grand conception of their sub- jects. 1, Plastic artists of the period: Mentor, toreutes, between the 90th 01. (he imitated the cups of Thericles in silver) and the 106th (when some of his works perished in the Artemision of Ephesus) ; Cleon of Sicyon, a scholar of Antiphanes, 98—102 ; Scopas the Parian, probably son of Aristander (§. 112. Bockh C. I. 2285 b.), architect, sculptor and brass-caster, 97—107. Polycles of Athens, a scholar of Stadieus (?), brass-caster, 102 ; Damocritus of Sicyon, a scholar of Piso, brass-caster, 102; Pausanias of Apollonia, brass-caster, about 102 ; Samolas from Ar- cadia, brass-caster, about 102. Eucleides of Athens, sculptor, about 102 (?); Leochares of Athens, brass-caster and sculptor, 102—111. (About 104 he was, according to the Ps. Platon. Letter xiii. p. 361, a young and excellent sculptor) ; Hypatodorus (Hecatodorus) and Aristogciton of Thebes, brass-casters, 102. Sostrates, brass-caster, 102—114. Damophon from Messenia, brass-caster, 103 sqq.; Xcnophon of Athens, brass-caster, 103; Callistonicus of Thebes, brass-caster, 103; Stbongtlion, brass-caster, about 103 (?). Olympiosthenes, brass-caster, about 103 (1); Euphranor, the Isthmian, painter, sculptor, brass-caster and toreutes, 104—110.