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.

    138/664
    3. The Anadyomene stood in the Asclepieion in Cos (yf«^/<« Kmov, Callim. Fragin. 254 Bentl), and was transferred by Augustus to the temple of D. Julius at Rome, where, however, it was in a decayed state even at the time of Nero. [Most likely that of which Pctron. says: quam Graeci Monocnemon vocant, etiam adorant, see Philostr. Imag. p. Ixi. Knnstbl. 1827. S. 327. (in opposition to Sillig). There also an ^Vmazon by Strongylion was called ii>x,uYif/,og, and Monocremon is the corrupted reading. See §. 318.] It was, according to some (Pliny), painted from Tancaste,—according to Athenaeus, from Phrync. Epigrams by Leonidas of Tarentum, and others. Ilgen, Opusc. i. p. 34. Jacobs in Wieland's Att. Mus. iii. s. 50. A later picture of the Anadyomene, Bartoli, Pitt, i, 22. comp. Anacreont. 51. 4. On the standing out of Alexander's arm with the thunderbolt, Plin. XXXV, 36, 16. In like manner Nicias is praised for painting so ut eminerent e tabvlis picturce, and Euphranor for the siexoif. [Ft. Linde- mann De imagine Al. M, ab Ap. picta Lips. 1820. 8vo.] 5. Comp. Philostr. i, 14. Welcker, p. 289. Plin. xxxv, 36, 17. On the glazing of the pictures of Apelles, §. 319, 5.—Arnaud, Sur la vie et lea ouvrages d'Apelle, Mem. de I'Ac. des Inscr. T. xlix. p. 200. [Apelles ^nd Antiphilus by Tolken in Bottiger's Amalthea iii. S. Ill—134.] 1 142. Contemporaneously with him flourished, besides those named, Protogenes, Avhom Apelles himself, whose genius raised him above every low feeling, had rendered celebrated,—a self- taught artist whose, often too careful, industry and accurate study of nature made his works, which were few in number, 2 invaluable. Theon also, who was distinguished by the liveli- ness of his inventions (cpocvTualai, visiones), belonged to this short-lived period of bloom in painting. 1. Protogenis rudimenta cum ipsius naturae veritate certantia non sine quodam horrore tractavi, Petron. 83. His most famous picture was that of the city-hero Jalysus with the dog and the reposing satyr, a my- thic representation o,f the city and district, on which he was 7 years engaged (11 according to Pronto), 01. 119. Fiorillo, Kleine Schriften i. s. 330 fF. Cic. Verr. iv, 60. mentions as one of his finest pictures Para- lum piotum (pictam), namely, the ship Paralus, which he painted toge- ther with the Ammonian trireme in the propyla3a of the acropolis at Athens, and as a portion, too, of the picture of the island of Phaeacia, as may be conjectured from Plin. xxxv, 36, 20. Paus. i, 22, 6.—It is my opinion, although it be not perfectly fixed, that in this passage of Paus. (cf. Hermann de pigt. parietum p, 19, who does not consider the matter in its connexion) the name of Protogenes, as painter of the picture of the Nausicaa in the Athenian Propylacum, has fallen out; also that Pliny xxxv, 36, 20 alludes to the same picture, which also contained the repre- sentation of a harbour in which lay the Athenian state-vessels Ammonias and Paralus, after the latter of which Cicero named the whole picture. [The latter part of this note is from the App. to the 2d Ed. Afterwai'ds there was reference made in the margin to Wclckor's explanation, which is perfectly diOercnt. Zwei Gcmiildc des Protogenes bci Pliriius in Zim-