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.

    171/664
    2. Metrodorus in PUny xxxiv. 16. Vitruv. iii, 2. Tuscanicus ApoUo L pedum a polUce, dubium ajre mirabilior an pulchritudine, Plin. xxxiv, 18. Tyrrhena sigilla, Hor. 3. The following are celebrated works: a. The Chimaera of Arreti- um at Florence (full of power and Hfe), Dempster, Etr. Reg. i. tb. 22. Inghir. iii. t. 21. Micali, Mon. tv. 42, 2. b. The she-wolf in the Capi- tol, probably that mentioned by Dionysius i, 79, and Liv. x, 23. which •was consecrated in the year of the city 458, and stood beside the Rumi- nal fig-tree, of stiff design as to the hair, but powerful in expression. Winckelm. W. vii. tf. 3. c. Micali, tv. 42, 1. [Urlichs de lupa aenea in the Rhein. Mus. iv. p. 519. Lord Byron Childe Harold iv, 25.] c. The Aule Meteli, called Arringatore or haruspex, at Florence, a carefully handled portrait, but not remarkable for spirit, Dempster i. tb. 40. d. The Minerva of Arezzo, at Florence, a graceful form of art now be come effeminate, Gori, M. Flor. iii. tb. 7. M. Etr. T. i. tb. 28. e. Apollo in archaic Greek form with Etruscan necklace and sandals, M. Etr. i. tb. 32.; one at Paris, Journ. des Sav. 1834. p. 285. f. The boy standing, with the goose, a figure of graceful and naive character, in the Mus. of Ley- den, Micali, tv. 43. g. The Mars of Todi, Bull. 1837. p. 26. Int. Bl. der A. L. Z. 1836. No. 6. Kunstbl. 1838. No. 65; an unknown combatant perfectly similar in England, specimens of anc. sculp, ii, 4. [and in the Mus. at Florence, Micali, Mon. 1833. tv. 39. Copy of the warrior of Todi Mus. Chiaram. ii. tv. B. M. Gregor. i. tv. 29. 32—39. 45.] Comp. also, besides Gori M. Etr. i., Micali, tv. 29. 32—39. 42—44, especially 32, 2. 6 and 33, as examples of the odd and disproportioned kind; 29, 2. 3, orientalizing figures with wings (from a sepulchre at Perugia); 39, an early Greek figure of a hero, but with Etruscan peculiarities of costume; 35, 14 (Hercules), 36, 5 (Pallas), 38, 1 (a hero) similar to the early Greek works, but more clumsy and awkward; 38, 6, as an example of Etruscan exaggeration in the expression of force; 44, 1, the boy of Tarquinii in a later style, but still harder than the one above described at f. Perugia furnishes most bronze figures, Gerhard, Hyperb. Rom. Studien, s. 202. Eleven small figures, Mon. d. Inst, ii, 29. Annali viii. p. 62. [The oldest of aU a female bust from the so-caUed grotta Egizia near the PoUedrara at Vulci, in Braun's possession. Bull. 1844. p. 106. Comp. Micali, Mon. ined. 1844. tv. 4—8. ibid. tv. 11—16. v Bronze figures and implements from Falterona in 1838. tv. 17—19. other bronze figures and reliefs. There is also from Vulci one of the finest bronze statues, in Grecian style, of the period of the emperors, erroneously taken for PaUas Ergane, from a helmet found at the same time, as the head which had been fixed on was wanting in Munich, Bull. 1835. p. 11. 120. 1836. p. 145. Kunstbl. 1838. 8. 78. 349. Zschr. f. AW. 1839. s. 192. M. Chiaram. ii. tv. 1]. 173. IVToreover, the work of the toreutes (ciseleur, graveu/r, \ orf^vre) was especially prized in Etruria, nay Tyrrhenian bowls of embossed gold, and all sorts of bronze works, such as candelabra, were in demand at Athens itself, even at the time when art was at its highest point of cultivation; in like manner silver cups, thrones of ivory and precious metal, as the curule chairs, facings of brass, silver and gold for state- chariots (currus triumpkales, tkenscv), and richly decorated ar-