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.

    57/664
    {Td^taaas y«f Ssj T/ ax*lf<'Ot'rt rovr^ (pctivovrxl fAoi j^xi'^nu ol' AgxaSej); but •was cultivated at an early period by the kindred Athenians (Thuc. vi, 27), from whence Pausan. (i, 24. iv, 33), derives the four-cornered hermae. 'Ef^oyXt/(p£r« at Athens the quarter of the workers in stone {xi^o^ooi, Lu- clan's Dream 7). The head wedge-bearded (^(ptivaituyuv, Artemid. ii, 37); instead of arms {cLx.uKai, trunci), at the most, projections for suspending garlands (D. A. K. 1, 3); the phallus must not be wanting (which the ' E^/noKO'Trllm vi^iiKo-^cci), comp. especially Aristoph. Lysist. 1093; Plutarch An Seni 28); a mantle often thrown round (Pans, viii, 39, 4. Diog. Laert. v, 82). They stood on the streets at cross-ways, hence with several heads (for example the three-headed Hermes of Procleides at Ancyle, called by Aristophanes Tg/<p«x>7f, Philochorus p. 45, Siebelis; the four- headed one of Telesarchides in the Cerameicus, Eust. ad II. xxiv, 333. Hesych. s. v. 'E^^'^j), also as a finger-post with the numbers of the stadia (with the C. I. n. 12. comp. AnthoL Pal. ii. p. 702. Planud. ii, 254). Comp. Sluiter Lect. Andocid. c. 2. p. 32 sq. Gurlitt Archseol. Schriften, 8. 193. 214. below §. 379, 2. A similar manner of representing Dionysus was early introduced, as in the Lesbian A/ov. (pocXhiju of olive-wood (Pans, x, 19. Euseb. Prsep. Ev. V, 36. Lobeck Agl. p. 1086). Dionysian hermas §. 383, 3. D. A. K. 1, 5. In this manner was also formed the brazen column of the Amyclaean Apollo with helmeted head and weapons in its hands. We have still to mention the li^a^thix.oti Bectl as head images (Gerhard's Bildw. ProdromUs S. 64. 107. [Dionysus as a mask head §. 345*, 3. 383, 3. and in like man- ner other Bacchian djemons, Zoega Bass. 16.] 68. On the otlier hand the carvers in wood ventured at an 1 early period to make entire images (^o'ava), particularly of those deities whose attributes required a complete figure for a basis, such as Pallas. Images of this kind were even in later times regarded as the most sacred; numberless wonderful legends explained often merely their form, for instance the brandished lance, the kneeling posture, the half-closed eyes. Their ap- 2 pearance was frequently odd and ludicrous, particularly from being overloaded with attributes. In the simplest style the 3 feet were not separate, and the eyes were denoted by a streak; there was afterwards given them a striding attitude with eyes slightly opened. The hands, when they carried nothing, lay close to the body. 1. Soctvou Siebelis, Pans. i. p. xlii, Elo;, a temple image, a il^v/^ivou (in the stricter sense a sitting one. C. I. i. p. 248. 905). Welcker Sylloge, p. 3. rd Tsjf 'AS>7i/cef eSoj Isocr. de antid. 2. 'Elo^ouv Ruhnken ad Tim. p. 93. (Koch Obs. p. 16). The Trojan palladium, a hiiTi-srig according to ApoUod. iii, 12, 3, (comp. Diod. Fragm. n. 14. p. 640. Wess.) brandished a lance in the right hand, and held in the left a distalF and spindle. However, the term was in other cases only applied to Pallas armed with the iEgis and raising her shield and spear, such as she always appears at the theft by Diomcd, the outrage on Cassandra and elsewhere (§. 415. D. A. K. 1, 6-7). Particu- larly antique on the vase in R.-Rochette M. I. pi. 60. Comp. Millingen Anc. Un. M.on. Ser. ii, p. 13. At Athens too the image of Athena Polias