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.

    219/664
    pi. 227), and comp. the plates immediately following. Many from the catacombs in Roman museums [especially in the library of the Vatican, also in the Lateran Museum, in Pisa and other places], in Aringhi and Aginc. pi. 4—6. Gerhard Ant. Bildw. 75, 2. Comp. Sickler Almanach i. 8. 173. A sculptor named Daniel under Theodoric had a privilegium for marble sarcophagi, Cassiodor. Var. iii, 19. Eutropus, an artist of the same description, Fabretti Inscr. v, 102. Christian artists among the martyrs (Baronius Ann. ad a. 303). A Christian artifex signarius Mura- tori, p. 963, 4. 6. On the honour of statues in later Rome, see the Ed. Winck. (after Pea) vi. s. 410 S., under the Ostrogoths, Manso, Gesch. des Ostgoth. Reichs, s. 403. As a reward to poets, in Merobaudes, see Niebuhr Merob. p. vii. (1824) ; at Byzantium even female dancers had statues erected to them. Anth. Planud. iv, 283 sqq.—The equestrian statue of Justinian in the Augustaeon (which, according to Malalas, had formerly represent- ed Arcadius) was in heroic costume, which at that time already seemed strange, but held in his left hand the terrestrial globe with the cross, according to Procop. de sedif. Just, i, 2. Rhetor, ed. Walz. i. p. 678. Magnificent picture of the emperor with the globe in his hand, Basilius in Vales, ad Ammian. xxv, 10, 2. A memoir by Marulli on the bronze colossus at Barletta in Apulia (Fea, Storia delle Arti ii. tv. 11); accord- ing to Visconti (Icon. Rom. iv. p. 165.) it is Heraclius, [Theodosius ac- cording to Marulli II colosso di bronzo esistente nella cittk di Barletta, Nap. 1816. 8vo.] In the projected treaty between Justinian and Theo- datus, in Procopius, it was formally arranged that the Gothic king should have no statue without the emperor, and should always stand on the left. —Even now the fAsreiy^a,<piiv was very common. Ed. Winck. vi. s. 405. comp. §. 158. R. 4. P. Er. Miiller gives a very accurate picture of the spirit of the time De genio sevi Theodos. p. 161 sqq. 7. The use of gems, mostly indeed cameos, on vases (Gallienus him- self made some of the kind, Trebell. 16), on the balteus, the fibuloB, caligd, and socci (Heliogabalus wore gems by the first artists on his feet, Lani- prid. 23), was very much diffused at this later period of the emperors. The conqueror of Zenobia dedicated in the temple of the Sun garments joined together with gems, Vopisc. Aurel. 28; Claudian describes the court dress of Honorius as sparkling with amethysts and hyacinths; af- ter the emperor Leo (Codex xi, 11), certain works of the kind were only allowed to be made by the Palatini artifices.—Hence the careful work- manship on gems and cameos down to a late period. A sardonyx in the Cabinet du Roi at Paris: Constantine on horseback smiting down his adversary; a sardonyx at St. Petersburg: Constantine and Fausta, Mongez, pi. 61, 5; Constantinus II. on a large agate onyx, Lippert iii, ii, 460; a sapphire at Florence: a chase by the emperor Coustantius at Caesarea in Cappadocia, Freher, Sapphirus Constantii Imp. Banduri Nu- mism. Suppl. tb. 12.—are celebrated. At Byzantium cameos of blood jasper in particular were carefully wrought; several of the kind with Christian subjects in the cabinet of antiques at Vienna.—Helias arge)i- tariics, died 405. Gruter, p. 1053, 4. Heyne, Artcs ex Constantinopoli nunquam prorsus exulantes. Com- mentat. Gott. iii. p. 3.