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.

    223/664
    un antico sepolcro fuori delle mura di Roma. R. 1795. Parietinas Pic- turas inter Esqu. et Viminalem CoUem super, anno detectas in ruderibus privatse domus, D. Antonini Pii £evo depictas (two pictures in the Pein- tures qui ornaient—no. 4. if it be the same picture, quite correspond with the representation on the coin of Lucilla, Num. Mus. Pisani tb. 25, 3) in tabulis expressas ed. 0. Buti Archit. Raph. Mengs del. Camparolli sc. 1788. 7 very fine plates (Pitture antiche della villa Negroni). [The picture in the Vatican from Torre Marancia in the Mon. Amaranziani. R. 1843. Wall paintings of a dwelling house in Catania, Ann. d. Inst. ix. p. 60. 177. of another in Anaphe, Ross in the Abhdl. der Miinchner Akad. ii. Tf. 3 A. s. 449, of a tomb in Apulia, Archaol. Int. Bl. 1835. s. 11. comp. 1837. s. 49. Others in Gyrene, in Pacho. Comp. the passages of Aris- tides on Corinth, of Dio and Themistius in R. Rochette Peint. Ant. p. 198, Clem. Alex. Protr. p. 52 s. Pott. Sidonius Apollinaris Epist. ii, 11.] For general accounts comp. Winck. v. s. 156 ff. 6. Besides these floating forms of dancing nymphs, centaurs and bacchantes, Pitt. Ere. i. 25—28, Winckelmann praises most the four pic- tures, iv, 41—44. Designs (retouched?) by Alexander of Athens on marble, i, 1—4. [which H. Meyer on Winck. v. s. 473 appreciates better than W. himself.] Among the historical pictures of Pompeii the carrying away of Briseis by Achilles is particularly noted (R. Rochette M. I. i, 19. Gell New S. 39. 40. Zahn Wandgem. 7) [as well as the Chryseis and the visit of Hera to Zeus on Ida from the same so-called Homeric house]; of others, the picture in R. Rochette M. I. i, 9. Gell 83. distinguished by its treatment of the light (Hypnus and Pasithea according to Hirt, Mars and lUa according to R. Rochette, Dionysus and Aura according to Lenormant, D. and Ariadne according to Guarini, Zephyrus and Flora according to JaneUi and others, see Bull. d. Inst. 1834. p. 186 sq.); also the enigmatical picture, Gell. 48. Zahn 20. R. Rochette, Pompei, pi. 15, representing the birth of Leda, or a nest with Erotes (Hirt, Ann. d. Inst, i. p. 251). [Certainly the former, with reference to the legend in the Cypr.] Others in the 2d Part. On the pieces of rhyparography [rhopo- graphy] Welcker ad Philostr. p. 397. The pictures consisting of mere blurs of paint, and only intelligible at a distance (Gell, p. 165), remind us of the compend. via §. 163. 7. [These paintings form two classes, imitations of earlier works of every kind, and new, Roman pictures: Bull. 1841. p. 107.] Quintil. x. 2. ut describere tabulas mensuris ac Uneis sciant. Lucian Zeuxis 3. rijg iix,6vo; TccvTYii dvrl'y^cc,(p6s earrt vvv ' hSsviumi ^Qog »vrviv sailuyiu a.x.qi(iil rvi ara.9if/.7j //.irivYivtyfAvYi- [exemplar quod apographon vocant, Plin. xxxv, 40, 23. i/,'t^Yi(/,u. Pausan. viii, 9, 4. cf. Siebelis.]. 211. In the age of Hadrian painting also must have re- I vived once more with the other arts. To it belonged JEtion, ■whom Lucian ranks with the first masters, and whose charm- ing picture of Alexander and Roxane, with Erotes busied about them and the king's armour, he cannot sufficiently praise. On the whole, however, painting continued to sink 2