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.

    159/664
    ontic poem (28), where painting is called the Rhodian art, belongs for that very reason to the time after Protogenes. 3. Polemon in Athen. xiii. p. 567 mentions Aristides (probably him of the 116th Olympiad) together with Nicophanes and Pausanias as vo^uoy^oi(pot. Of the same stamp (if not identical) with Nicophanes was Cheerephanes, who painted axoXao-Toy? o^t'hiag yvvectnau tt^o^ oLv'h^ctg, Plut. de aud. poet. 3. The boy blowing the fire by Antiphilus, Plin.; he first painted grylli (§. 435). A parturient Zeus by Ctesilochus [in vases pa- rodies on Hercules, as queller of the Cercopes (d'Hancarville iii, 88. Saint Non Voy. Pitt. T. ii. p. 243), the judgment of Paris, &c.]; on such paro- dic treatment of mythi, see Hirt, Gesch. s. 265, and below §. 390, 6. Galaton's spitting Homer was certainly meant as a hit at the Alexan- drine poets. 4. Pausias (^^sg^c/oj -ttIux^, Nicomachus, but especially Philoxenus (hie celeritatem prasceptoris secutus, breviores etiamnum quasdam pic- ture vias et compendiarias invenit), and afterwards Lala figured as rapid painters. QuintiHan xii, 10, celebrates the facilitas of Antiphilus. The passage Petron. 2 is enigmatical: Pictura quoque non ahum exitum fecit, postquam jEgyptiorum audacia tam magnse artis compendiariam invenit. 5. Pyreicus (time unknown) tonstrinas sutrinasque pinxit et asellos et obsonia ac similia : ob hoc cognominatus rhyparographos, in iis con- summatse voluptatis, Quippe eaa pluris veniere quam maximse multorum. Comp. Philostratus i, 31. ii, 26 (Xenia). Rhopography, on the other hand, denotes the representation of restricted scenes in nature—a small por- tion of a wood, a brook and the like. Welcker ad Philostr. p. 397. [Ob- sonia ac similia, fruits and flowers, §. 211. R. 1. 434. R. 2. are not dirty, even shops, laden asses, the class generally are not conceived by a healthy sense under the aspect of dirt adhering to them; the name would not be trivial but a disgusting term of reproach; it cannot be a Grecian artis- tic expression. Besides Cicero the Etym. M. gives puvoy^xcpovg, from puTTts, u'Kyi. The appellation of Pyreicus refers to another kind of puTToy^oiCpioi, from puniros, miscellaneous wares which the merchant ship brings (^schyl. fr. Hect. Bekker. Anecd. p. 61). Such puvog were dis- played in the booths, asses were laden with them, even fish may be com- prehended under that name. To this refers an obscurely composed ar- ticle in Phot. Suid. and Zonaras, and the allusion of Leonidas Tar. puTTiKot y^x-ipccpcevcc in jocular dovMe entendre (Syll. Epigr. Gr. p. 98.). On the contrary rhyparographus rests solely on the passage in Pliny, and emendation therein, which is even rejected by Passow and Pape in their dictionaries. The explanation of still-Ufe is, as the author himself re- marked, contested by A. W. Becker de com. Romanor. fab. p. 43. Fruit pieces were also specially called Xenia, PhUostr. i, 31. Vitruv. vi, 7. 4. ideo pictores ea quae mittebantur hospitibus picturis imitantes Xenia appellaverunt, whereby the conjectured explanation to Philostratus is confirmed.] «■ 6. The first mosaics which are mentioned are the unswept room {riiKOi doroiQinoi) of Sosus the Pergamenian, of clay tesseraj, Plin. xxxvi, 60; the cantharus there introduced with the doves drinking and sunning themselves is imitated, but imperfectly however, in the mosaic from Hadrian's Villa, M. Cap. iv, 60 [a more perfect repetition found at