Ancient art and its remains, or, A manual of the archaeology of art / By C.O. Müller.

  • Karl Otfried Müller
Date:
1852
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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.

    135/664
    lime majesty (his Zeus on the throne surrounded by gods); yet Aristotle (§. lo4. Rem. 2) misses ethos in his pictures. Par- 2 rhasius could give still more roundness to his, and was much richer and more varied in his creations ; his numerous pic- tures of gods and heroes (as his Theseus) attained a canonic consideration in art. He was overcome, however, in a pictorial 3 contest by the ingenious Timanthes, in whose sacrifice of Iphi- genia the ancients admired the expression of grief carried to that pitch of intensity at Avhich art had only dared to hint. 1. The centaur-family is the best known of the works of Zeuxis—a charming group in which also the blending of man and horse and the accuracy of execution were admired. Comp. the gem M. Florent. i. tb. 92, 5. 2. Parrh. in lineis extremis palmam adeptus—ambire enira se extre- mitas ipsa debet. Plin. On him as law-giver of art, Quintil. xii, 10.—■ On his Demos of the Athenians, where in one figure very contradictory traits were expressed by form of body, expression, gestures, and attri- butes, a singular hypothesis has been built (an owl with heads of other animals) by Q. de Quincy, Mon. Restit. T. ii. p. 71 sqq. On the earlier opinions, G. A. Lange 1820. N. 11. [Lange Yermischte Schr. S. 277.] 3. Graphic agones in Quintil. ii, 13. Plin. xxxv, 35. 36, 3. 5, at Cor- inth, Apostol. XV, 13, in Samos, M\. V. H. ix, 11. Athen. xii, 543. Ti- magoras of Chalcis composed a song of victory to himself. The pic- ture in Pompeii (Zahn's Wandgemalde 19. R. Rochette M. I. i, 27. M. Borb. iv, 3. comp. §. 415, 1) has at least the veiled Agamemnon in com- mon with the picture of Timanthes. Comp, Lange in Jahn's Jahrbii- cheri;! 1828. 8^316. [Verm. Schr. S. 163.] The picture Antich. di Erco- lano ii, 19 may be compared with his Marsyas religatus [also a vase- painting]. In unius hujus operibus intelligitur plus semper quam pin- ~ gitur (as in the very charmingly conceived picture of the Cyclops), Plin. XXXV, 36, 6. 139. Whilst Zeuxis, Parrhasius and their followers, under 1 the general name of the Asiatic school, were opposed to the Grecian (Helladic) school, which flourished before, and whose chief seat was at Athens, the school of Sicyon now arose by 2 means of Pamphilus in the Peloponnese, and took its place beside those of Ionia and Attica as a third essentially differ- ent. Its chief distinctions Avere scientific cultivation, artistic 3 knowledge,^ and the greatest accuracy and ease in draAving. At this period also encaustic painting Avas cultivated by Aris- 4 tides of Thebes and Pausias of Sicyon; but according to Pliny it had been already exercised by Polygnotus (comp. §. 320). 2. The Sicyonic painters as a class, Athen. v. p. 196 e. Polemon (§. 35, 3) wrote on the poecile at Sicyon, built about 01. 120. Athen. vi, 253 b. xiii, 677 c. [In the first Ed. followed, Hence Sicyon HcUadica, which expression of later writers can only perhaps he derived from the