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.

    158/664
    3 augmented by similar productions. The tendencies which were peculiar to this period gave birth sometimes to pictures which ministered to a low sensuality, sometimes to works which attracted by their effects of light, and also to carica- 4 tures and travesties of mythological subjects. Hasty painting, which was rendered necessary by the state-processions in the cities where the kings resided (§. 147), must have ruined 5 many an artist. At this time also rhyparography (so-called still-life) probably made its appearance, and scenography was applied to the decoration of the palaces of the great (§. 209). 6 As the love of magnificence among the great now also de- manded the decoration of painting on their floors, the mosaic art arose, and quickly developing itself, undertook to repre- sent great combats of heroes and highly animated battle- 7 scenes. The painting of earthen vases, which was so favour- ite an occupation in earlier times, died out in the course of this period, and sooner, so far as can be observed, among the Greeks of the mother country and the colonies than in many of the but superficially Hellenised districts of Lower Italy, where these vases continued longer to be esteemed as objects of luxury, but thereby also present very clearly to the eye the degeneracy of design into a careless manufacture-work, or a system of mannerism and afiected ornament. 1. Floruit circa Philippum et usque ad successores Alexandri pictura prsecipue, sed diversis virtutibus, Quintil. xii, 10. comp. Plaut. Poenul, v, 4, 103. Artists of note: Antiphilus from Egypt, a pupil of Cteside- mus, 112—116 (it does not necessarily follow from the circumstance of his painting Alexander as a boy that he had seen him when a boy). Aristides, son and pupil of Aristides of Thebes, about 113. Ctesilochus, brother and scholar of ApeUes (Ionic school), 115. Aristides, brother and scholar of Nicomachus (Sicyonic school), about 116. Nicophanes and Pausanias (school of Sicyon) at the same time as it appears. Philoxentts of Eretria and Corybas, a scholar of Nicomachus (school of Sicyon), about 116. Helena, daughter of Timon, contemporaneous. Aristocles, Nico- machus' son and scholar (school of Sicyon), about 116. Omphalion, a scholar of Nicias (Attic school), about 118. Nicerus and Aristo, sons and scholars of Aristides of Thebes, 118. Antorides and Euphranor, scholars of Aristides (Aristo 1), 118. Perseus, scholar of Apelles (Ionic school), 118. Theodorus (Sillig. C. A. p. 443), 118. Arcesilaus, son of Tisicrates, about 119. Clesides, 120 (?). Artemon, 120 (?). Diogenes, 120. Olbiades (Paus. i, 3, 4), 125. Mydon of Soli [Cod. Bamberg. Monac. Milo], scholar of the brass-caster Pyromachus, 130. Nealces of Sicyon, 132. Leontiscus (school of Sicyon), about 134. The second Timanthes of Sicyon, 135 (as it seems). Ei-igonus the colour-grinder of Nealces, 138. Anaxandra, daughter of Nealces, 138 (Clem. Alex. Strom, iv. p. 523). Pasias, scholar of Erigonus (Sicyonic school), 144. Herachdcs, from Macedonia, ship-painter, encaustes, 150. Metrodorus, at Athens, plulo- sopher and painter, 160. 2. On the Sicyonic school, particularly Plut. Arat. 13. The Anacrc-