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.

    134/664
    3 of among architects and plastic artists; although their art, as well in regard to the earnestness and depth with which subjects were conceived, as in respect of moral severity, al- ready seemed -to have degenerated from the spirit of the earlier 4 period. At this epoch the Ionic school was in the ascendant; conformably to the character of the race (§. 45) it had a greater tendency to softness and voluptuousness than the old Peloponnesian, and the immediately preceding Attic school. 1. See the stories of the grapes of Zeuxis and the curtain of Parrha- sius, &c. The tradition also bears on this, that Zeuxis laughed himself to death over an old woman painted by him, Festi Sched. p. 209. Miill. On the illusion of painting, Plat. Sophist, p. 234. Resp. x. p. 698. Many evidently held this to be the highest aim of art, in the same way that the tragic art since the time of Euripides sought to attain dirtltrn (formerly it aimed at £x7rX>7|/f). 2. ApoUodorus wore a lofty tiara after the Persian fashion [which was imitated by Alcibiades and the rich Callias], Hesych. Zeuxis at last gave away his works in presents because their price could not be esti- mated (Plin. XXXV, 36, 4), and on the other hand he took money for admission to see his Helena {M\. V. H. iv, 12). Parrhasius was proud and luxurious as a satrap, and asserted that he. stood at the boundaries of art. 3. Parrhasius pinxit et minoribus tabellis libidines eo genere petu- lantis joci se reficiens. An instance, Sueton. Tiber. 44. comp. Eurip. Hippol. 1091. Clem. Alex. Protr. iv. p. 40. Ovid, Trist. ii, 524. Lobeck, Aglaoph. p. 606. 4. Ephesus was at the time of Agesilaus (95, 4) full of painters, Xenoph. H. iii, 4, 17. [Several §. 139. R. 2.]—The painters of the period: Zeuxis of Heraclea, or Ephesus (the head-quarters of the school, Tolken, Amalth. iii. s. 123), somewhere about 90—100 (PHny puts him at 95, 4 ; but he painted for 400 minse the palace of Archelaus, who died 95, 3, iElian V. H. xiv, 7. comp. Phny xxxv, 36, 2.—An Eros crowned with a gar- land of roses in Aristoph. Acharn. 992. Olymp. 88, 3, is ascribed by the Schol. to Zeuxis. [Sillig 0. A. p. 464 doubts the correctness of this, R. Rochette Peintures ant. ined. p. 170 contradicts him]), also a worker in clay. Parkhasius of Ephesus, son and scholar of Euenor, about 95 (Seneca, Controv. v, 10. is a mere fiction). [Kunstbl. 1827. S. 327. Feu- erbach's Vatic. Apollo S. 71.] Timanthes of Cythnos (Sicyon) and Co- lotes of Teos, at the same time. Euxenidas, 95. Idaeus (Agesilaus' (pi-Kxocc, Xenoph. H. iv, 1, 39), about the same time. Pauson, the pam- ter of ugliness (Aristot.), about 95 (see, however, Welcker in the Kunst- blatt 1827. S. 327). [The author's explanation is contested Kunstbl. 1833. S. 88.] Androcydes of Cyzicus, 95—100. Eupompus of Sicyon, 95—100. Brietes of Sicyon, about the same period. 138 Zeuxis, who appropriated the discoveries of ApoUo- dorus in sciagraphy and improved upon them, made single fi.nires of gods and heroes his favourite subjects in painting. He appears to have been equally distinguished in the repre- sentation of female charms (his Helena at Crotona) and sub- 1