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.

    116/664
    Peaxiteles of Athens (0. 1.1G04. Opera ejus sunt Athenis in Ceramico, Plin. N. n. xxxvi, 4, 5), sculptor and brass-caster, 104—110. Echion [or Aetion], brass-caster and painter, 107; Theriinachiis, brass-caster and painter, 107 ; Timotheus, sculptor and brass-caster, 107; Pythis, sculptor, 107 ; Bryaxis of Athens, sculptor and brass-caster, 107—119; Herodotus of Olynthus, about 108; Hippias, brass-caster, 110; Lysippus of Sicyon, brass-caster, 103—114 (with Paus. vi, 4, corap. Corsini Diss. Agon. p. 125), according to Athen. xi. p. 784, as late as 116, 1 (?); Lysis- trates of Sicyon, brother of Lysippus, plastes, 114 ; Silanion of Athens, a self-taught artist; Sthenis, Euphronides, Ion, and Apollodorus, brass- casters, 114 ; Amphistratus, sculptor, 114; Hippias, brass-caster, 114 (to be inferred from Paus. vi, 13, 3) ; Menestratus, sculptor about 114 (?); Chaereas, brass-caster about 114; Philo, son of Antipatrus (?), brass- caster, 114 ; Pamphilus, a scholar of Praxiteles, 114. Cephissodotus (or -dorus) and Timarchus, sons of Praxiteles, brass-casters, 114—120. 1 125. Scopas, principally a worker in marble (the product of his home), the mild light of which doubtless seemed to hira better suited to the subjects of his art than the sterner brass, borrowed his favourite themes from the cycles of Dionysus 2 and Aphrodite. In the former he was certainly one of the first who presented the Bacchic enthusiasm in a perfectly free 3 and unfettered form (comp. §. 96, Rem. 21); his mastery m the latter was shown by the collocation of Eros, Himeros and Pothos beings differing from one another by slight shades in 4 one group of statues. The Apollo-Ideal is indebted to him for the more graceful and animated form of the Pythian Oith- arcedus ; he produced it by lending to the accustomed figure in art (§. 96, Rem. 17) a greater expression of rapture and 5 exaltation. One of his most splendid works was the group ot sea-deities who escorted Achilles to the island of Leuce—a subject in which tender grace, heroic grandeur, daring power and a luxuriant fulness of strong natural life are combined in such wonderful harmony, that even the attempt to conjure up and conceive the group, in the spirit of ancient art, must 6 fill us with the most cordial delight. It is highly probable that the character of the forms and gestures peculiar to the Bacchian cycle, was first tranferred by Scopas to the repre- sentation of beings of the ocean whereby the Tritons took the shape of Satyrs, and the Nereids of Monads of the sea, and the entire train seemed as if animated and intoxicated with inward fulness of life (comp. §. 402). 2. Dionysus at Cnidus in marble, Plin. xxxvi, 4, 5. A Mr^nad with streaming hair as x'f^cc>Qo(p6m, in Parian marble, Calhstratus 2. Anthol. pTr774 and An. it, 60 (App. ii p 642), probably the one on the reUef ik ZoSga, Bassir. ii. tv. 84, which also recurs on the reliefs, ibid. 83, 106 on the'vLe of Sosidius (Bouill. iii, 79), ij. t^-/-^^^ ^^p^^^ downe's collection and in the British Museum (R. vi. n. 17*). A Paninc Cic. de. Divin. i, 13.